The Royal Ballet: Giselle, Feb-April 2016

[Jamesrhblack]

Hello I started a little campaign for DVD release of Giselle with Nunez and Muntagirov.

 

If you want to participate please retweet.

 

https://twitter.com/EliaAmato/status/718215496039014400

Apart from any Oder considerations, I doubt they could issue given Mendizabal's costume malfunction and disappointingly unsteady dancing unless there are more successful rushes from an earlier performance....

[capybara]

Hello I started a little campaign for DVD release of Giselle with Nunez and Muntagirov.

 

If you want to participate please retweet.

 

https://twitter.com/EliaAmato/status/718215496039014400

 

Thank you, eliamato.

[Ann Williams]

About that unfortunate costume malfunction, I'd been wondering about the possibility of disguising it for the purpose of any proposed commercial DVD release. Does anyone know if the  hiked skirt could be 'airbrushed' out?  I was one of the (apparent) few who actually enjoyed Itziar's Myrtha; despite 'wobbles' etc,  I loved her ever-present fierce, angry expression so that you could never forget what she was there for - she just made an unforgettable impression, on me anyway, and I hope she won't be put off my some of the comments here - I'm sure they weren't meant to.

[Jan McNulty]

About that unfortunate costume malfunction, I'd been wondering about the possibility of disguising it for the purpose of any proposed commercial DVD release. Does anyone know if the  hiked skirt could be 'airbrushed' out?  I was one of the (apparent) few who actually enjoyed Itziar's Myrtha; despite 'wobbles' etc,  I loved her ever-present fierce, angry expression so that you could never forget what she was there for - she just made an unforgettable impression, on me anyway, and I hope she won't be put off my some of the comments here - I'm sure they weren't meant to.

 

 

I thought she was very scary and very good!

[Balletfanp]

They filmed on the 31st as a rehearsal so presumably they have other footage.

 

And thank you, Elia Amato - I have retweeted!

[Duck]

Why do the costumes have wings, will they not make such malfunction possible sooner or later?

 

I liked her intense stare, staying in character throughout.

[capybara]

I am not posting this on the 'behind the paywall' thread as I don't think Rupert Christiansen's review in the Mail on Sunday was available online (I had to order a copy as it is not a paper I normally take!!!). However, a few quotes here about the Nunez/Muntagirov cast may be appropriate:

 

" They make a lovely match of girlish and boyish charm, both of them superb technicians with complementary grace and buoyancy"

".......seldom does one encounter a Count Albrecht as sympathetic as Muntagirov's........ an ardent youth sincerely longing for love and life away from the formalities of the ducal court!."

" In the second act, both dancers are simply dazzling in their finesse...........The result is not only jaw-droppingly impressive but warmly moving".

 

 

He gives the performance 5 stars.

Edited April 8, 2016 by capybara

[Aruna S]

Similarly at the end, Giselle is supposed to sink low behind the flora as she completes her bourées towards the wing (as if going back into the grave) but not all the dancers do this.

In the Paris Opera's production she slowly sinks down into the grave presumably via a trapdoor. I remember someone in the row behind me laughing when this happened, people are weird.

[alison]

The other thing that really bugs me is that when Albrecht first appears, cape  a-swirling, he is clearly NOT wearing his scabbard and sword.  He then disappears into the hut, and when he re-emerges the cape has come off, to give him that peasant look, but the sword has been put on...just for him to immediately take it off.  That always baffles me.  Why not just come on with the sword on?  One swish of the cape and everyone would see it.  He would then go in the hut, remove the sword and cape, and re-appear as a 'peasant'.  I know that in this version he is supposed to have forgotten to take the sword off whilst he was in the hut, but as he isn't wearing it when he appears, it doesn't make sense!  If he'd just thrown his cape off in his excitement to see Giselle and forgotten the sword that he was already wearing, then it WOULD make sense!

Do you know, I don't think I'd ever registered that before!

 

Why do the costumes have wings, will they not make such malfunction possible sooner or later?

 

To emphasise the aerial nature of the spirits, I suppose. And note that Giselle doesn't have wings, and is therefore not a Wili

 

I agree with annamk. Although Marienela's dancing was impeccable she was just too sunny and robust looking to convince me that she would have a breakdown once she discovered Albrecht's disloyalty. I feel that more fragility is called for in the role. Having said that, her rather powerful Giselle in Act 2 was very moving, aided by beautiful playing by the orchestra which I thought sounded really good last night. Vadim was a more sympathetic Albrecht than I think is usually the case: boyish and foolish (and in love) rather than coolly manipulative. I felt that he was perhaps slightly 'flashier' than usual with several vigorous swishes of his cape, some larger gestures and some very high jumps. However, his entrechats and jumps in Act 2 were spectacular and in keeping with the story. It was lovely to see such lively dancing by the corps in Act 1 and a pas de six danced with such charm and finesse. All the great actors were on stage last night: Bennett, Gary, Elizabeth, plus Christine Arestis made a suitably aristocratic and disdainful Bathilde.

I agree a bit, too. Certainly if she's already a bit fragile the breakdown is probably easier to accept, especially for a 21st-century audience. 

 

Also, I always find the appearance and final exit of Giselle very slightly disappointing. Myrtha directs her powers towards the grave to draw Giselle out, yet she makes her entrance from the wings, so she looks as though she was already up and about. A bit nit picky, but other companies make the connection more obvious, and it is much more powerful visually.

At least in the cinema we didn't have the opportunity to spot Giselle's appearance, because the camera switched to focus on Myrtha, I think. Sometimes the ballerina times her entrance too early and can clearly be seen, but some do manage to get the right effect, and/or get the return to the grave effectively. What *has* been bugging me in recent productions, though, is the dispatching of Hilarion. Whereas it used to seem that Moyna and Zulme actually sent him to his death, it now looks more like "oh, go and throw yourself off that bluff, will you?"!

[Jane S]

In one RB production (maybe the early days of this one?), at the end Albrecht gently placed Giselle's body in a different grave, possibly to show she was saved from being a Wili - but it confused a lot of people and they dropped it eventually.

[bridiem]

That's true about Hilarion's death. Moyna and Zulme used to basically manhandle him to his end and then come back as if to say 'good riddance; job done'. Now he goes off on his own. I think the former was  more effective.

[SPD444]

Regarding the production of DVD. I received the below this afternoon:-

 

The Royal Ballet ‏@TheRoyalBallet  2h2 hours ago

Here's why @MNunezOfficial and @VMuntagirov love Giselle: http://www.roh.org.uk/news/watch-members-of-the-cast-and-creative-team-on-giselle … #ROHgiselle ^M

 

I replied with the below:-

 

Stuart Dixon ‏@StuartDixon4  2h2 hours ago

@TheRoyalBallet @MNunezOfficial @VMuntagirov Come on RB. What about the DVD everyone wants. Read the reviews on your own website. PLEASE

 

This was liked by loads of people and even Nela retweeted it. Then the below just arrived:-

 

 

The Royal Ballet ‏@TheRoyalBallet  14m14 minutes ago

@HerbalTeaTime @StuartDixon4 We’re currently looking at different online/on-demand options for our productions. Look out for updates! ^M

 

So what do you all make of that, DVD/ Digital copy/??

 

Any ideas

 

 

[Fonty]

I missed Hilarion's death completely this time as I was busy watching the Corps, but when I saw it live it reminded me a bit of Swan Lake, as it looks as though he commits suicide by choice rather than being hounded to death.

 

I also did not spot that Albrecht makes his first entrance swordless. I have always wondered how he managed to get access to the hut in the village, though. In a small place like that he would have to have a convincing story in place, to satisfy the curiosity of the peasants. Also, in the film i thought it showed him going into it shortly before Hilarion enters to search for incriminating evidence. I assume it was the camera angle. Either that or the hut has a handy back door.

[Balletfanp]

 

Regarding the production of DVD. I received the below this afternoon:-

The Royal Ballet ‏@TheRoyalBallet 2h2 hours ago

 

Here's why @MNunezOfficial and @VMuntagirov love Giselle: http://www.roh.org.uk/news/watch-members-of-the-cast-and-creative-team-on-giselle… #ROHgiselle ^M

 

I replied with the below:-

 

Stuart Dixon ‏@StuartDixon4 2h2 hours ago

 

@TheRoyalBallet @MNunezOfficial @VMuntagirov Come on RB. What about the DVD everyone wants. Read the reviews on your own website. PLEASE

 

This was liked by loads of people and even Nela retweeted it. Then the below just arrived:-

 

 

The Royal Ballet ‏@TheRoyalBallet 14m14 minutes ago

 

@HerbalTeaTime @StuartDixon4 We’re currently looking at different online/on-demand options for our productions. Look out for updates! ^M

 

So what do you all make of that, DVD/ Digital copy/??

 

Any ideas

 

At least it sounds hopeful and that they are considering it! I'd settle for a digital download if that's what they offer, but many would want a DVD.

 

I tweeted about it myself a few days ago, and Crystal Ballet responded with a suggestion that they host and distribute it, so maybe that's what they are considering?

 

Either way - demand is really hotting up, and is unprecedented, I'd say.

[SPD444]

"I also did not spot that Albrecht makes his first entrance swordless. I have always wondered how he managed to get access to the hut in the village, though. In a small place like that he would have to have a convincing story in place, to satisfy the curiosity of the peasants. Also, in the film i thought it showed him going into it shortly before Hilarion enters to search for incriminating evidence. I assume it was the camera angle. Either that or the hut has a handy back door."

 

I have a different memory of this Fonty,  Albrecht first entrance is with his sword and wearing a cape. His squire reminds him that he is wearing his sword so Albrecht gives him the door key and he removes it and the squire takes it inside the hut. When the hunt arrives Albrecht does not enter the hut but exits stage left. Hilarion later breaks into the hut using his knife and comes out with the sword.

[SPD444]

At least it sounds hopeful and that they are considering it! I'd settle for a digital download if that's what they offer, but many would want a DVD.

 

I tweeted about it myself a few days ago, and Crystal Ballet responded with a suggestion that they host and distribute it, so maybe that's what they are considering?

 

Either way - demand is really hotting up, and is unprecedented, I'd say.

 

 

My twitter account is full of my tweet being retweeted. Power to the people.

[Wulff]

I have a couple of memories of the RB's former production of Giselle, way back in the 50s when Giselle really did rise from her tomb via a trapdoor. In addition , a wire was attached to her veil so that when Myrthe waved her hand the veil was whisked away into the flies. The sinking back into the ground at the end was also better managed.

 

Another detail that I recall when Fonteyn and Somes danced Giselle and Albrecht was that in act2 when Giselle throws a flower to Albrecht while performing a diagonal of jetes downstage Fonteyn threw the flower at the top of her jump and Somes managed to catch it at the top of his. I can't remember whether other dancers managed to pull off this feat.

[Ian Macmillan]

But when all is said and done, isn't it a piece of theatre - and so, before getting too concerned over detail, some suspension of belief is quite in order?

[alymer]

The production you're thinking of Jane was actually a re-staging by Norman Morrice of the old version with designs by James Bailey and was given at the beginning of his stint as director.  And yes, the different grave was to show that Giselle was no longer a Wili, but had been saved by her love and courage. I heard that from Madam herself.

The wings are there to indicate that the Wilis are supernatural beings - Giselle herself used to wear them and there was a little trick which made them spring into view when she bowed to Myrtha after emerging from her grave.

And according to Dolin it was considered to be very bad form if Albrecht failed to catch the lilies which Giselle threw to him as she jumped.

[stucha]

But when all is said and done, isn't it a piece of theatre - and so, before getting too concerned over detail, some suspension of belief is quite in order?

 

True. 

But I think you may mean "disbelief" Ian.

[bridiem]

But when all is said and done, isn't it a piece of theatre - and so, before getting too concerned over detail, some suspension of belief is quite in order?

 

Definitely true. It's just odd when effects/approaches that used to be possible/effective are abandoned in favour of ones that are less effective. Sometimes that judgement is subjective, of course; but something like now being able to see Giselle walking on from the wings is a pretty basic flaw, I think. 

[Jamesrhblack]

About that unfortunate costume malfunction, I'd been wondering about the possibility of disguising it for the purpose of any proposed commercial DVD release. Does anyone know if the  hiked skirt could be 'airbrushed' out?  I was one of the (apparent) few who actually enjoyed Itziar's Myrtha; despite 'wobbles' etc,  I loved her ever-present fierce, angry expression so that you could never forget what she was there for - she just made an unforgettable impression, on me anyway, and I hope she won't be put off my some of the comments here - I'm sure they weren't meant to.

Perhaps exaggerated by the cinema cameras for me the incessant staring became rather tedious. The wry smile that Nunez allows herself in the earlier DVD is much more interesting and true authority comes from inner strength not eternally enforced lack of emotion. Who knows, if she'd relaxed her face a bit more, she might have danced father better (having been very impressed on previous occasions with her I was truly disappointed on Tuesday) and given a more interestingly nuanced portrayal.

[Sim]

I wasn't there on Wednesday nor did I see it in the cinema, but like Ann Williams I also very much liked Itziar's portrayal, as described in my thoughts a few pages back after this cast's unexpected debut that wonderful Thursday night!

[FLOSS]

I think that we should remember that Peter Wright first staged  a Giselle for a royal ballet company when he worked with SWRB. As this was a company which toured he obviously had to eliminate reliance on stage machinery. I suspect that his take on the ballet and its staging including not using a trap door to get Giselle on and off the stage is the result of his early experience in staging it. I have to say that, excluding Nunez from the list, I think that the Royal Ballet still lacks a world class Myrthe. Heap may become one in due course but the others lack the technical command and steely implacability which the role demands.

[Fonty]

Definitely true. It's just odd when effects/approaches that used to be possible/effective are abandoned in favour of ones that are less effective. Sometimes that judgement is subjective, of course; but something like now being able to see Giselle walking on from the wings is a pretty basic flaw, I think.

 

 

Yes, I agree. I know we are meant to suspend belief, and we do. But I love the sound of the earlier touches, and they sound like an improvement on the current production. And while I appreciate that this was created for a touring company, that must have been a very long time ago.

[alison]

Definitely true. It's just odd when effects/approaches that used to be possible/effective are abandoned in favour of ones that are less effective. Sometimes that judgement is subjective, of course; but something like now being able to see Giselle walking on from the wings is a pretty basic flaw, I think. 

 

Did you see when the Kirov brought their production to the Coliseum quite a few years ago now?  Giselle's gravestone (a full momumental one) was at front left, and she just stepped out from the wings straight onto it.  Whether it was like that at the Mariinsky, or whether this was just due to the limitations of the Coliseum I don't know, but it was highly unatmospheric.

[J_New]

The Mikhailovsky use moving foliage to hide/uncover Myrthe and Giselle. That worked well when we saw it.

[penelopesimpson]

I am very much looking forward to seeing Giselle tomorrow. Unfortunately all the ballet screenings seem to attract very elderly people and last time I was nearly asphyxiated by the smell of Parma violet scent and hairspray.

I find this comment unkind and somewhat offensive.  I am a 'pensioner' who loves ballet.  I also love clothes and hairdo's and would not even know what Parma violets smell like. I have no idea what constitutes 'very elderly' in your eyes but how marvellous to see the not so young having a wonderful experience.  I don't no who you think keeps ROH going - it certainly it isn't the under thirties!

 

 I am just happy to see the cinema's packed with enthusiastic audiences who are unable to attend the live performance.  I am fortunate enough to do both and enjoy the fact that audiences are made up of people of all ages.  There are many things I find unattractive about today's youth but wouldn't dream of being so unkind as to draw attention to them.  Watching a fantastic ballet is made all the more enjoyable by being in the presence of others giving themselves up to the pleasure of the dance.

[penelopesimpson]

Bloody hell - you're not wrong! My first ballet cinema and I must be half the age of mist of the punters in the lobby!

how tiresome for you...

[Fiz]

Penelope, I did explain why I said what I did. I have severe allergies and strong perfume and hairspray knock me sidewise. I was in two minds whether to go home because of it. I have never experienced this at a mixed age screening. As far as age is concerned, I am getting towards pensionable age myself.

[zxDaveM]

My gosh, I did enjoy Akane Takada's Giselle this evening. Act one was a coy, naive young woman, utterly smitten by her cad of a suitor; the looks of adoration before betrayal were heart wrenching, so that when that betrayal came, it was lump in the throat moment for sure. Her act 2 was super, almost a desperation to save Albrecht, despite what he had done. And Akane has certainly rediscovered those springs in her heels, her jumps either straight up or in the grandest of grande jetes were high, fluid, and softly landed. Quite possibly my favourite Giselle I have watched this season. She was certainly my favourite 'young woman' in Two Pigeons.

[SusanR]

Penelope, I did explain why I said what I did. I have severe allergies and strong perfume and hairspray knock me sidewise. I was in two minds whether to go home because of it. I have never experienced this at a mixed age screening. As far as age is concerned, I am getting towards pensionable age myself.

[SusanR]

Surely perfume & hairspray is used just as much by young people?