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The Royal Ballet: The Sleeping Beauty performances, 2016-2017


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The fact remains that certain dancers, three in particular, are continuously sniped at and not one is a bad dancer.  I suspect Bill still retains that British concept of fair play and reacts to what he considers unfair.

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But wasn't it luxurious Fonty having it all to yourself?

I agree about the Lilac Fairy solo and wonder when and why this solo became such a problem- well, it is evidently really fiendishly hard. But it seems to be almost un-performable.

Whereas, as you say, the other fairy solos have improved a lot.

The princes are wonderfully human and real I do agree-all so different.

 

I rather like the garland dance- it is a low light in between a succession of highlights- maybe no bad thing? (I noticed there was applause at an odd point during it- someone on this thread has pointed this out but, I am sorry I can't recall who it was. Possibly the audience high up could see a pattern we couldn't see?)

 

The overall constantly changing patterns as dancers enter, gather,  shift into tableaux- as well as dance- and leave is one of the marvels of SB and I noticed it  a lot more this time.

 

Edited to say,  thanks a lot Lenore for that very interesting round-up . Hirano is one of those rather under- rated ?-well, not much feted- dancers whose elegant line and beautiful classical dancing  I started to notice and really rate very highly indeed a few years ago, so look out for him again!

Edited by Mary
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Reading some of these posts, I consider myself lucky that I just go to the ROH now and again, and just enjoy whatever and whoever is in front of me. I was there on Saturday evening, and thoroughly enjoyed the night, I see where some people are coming from suggesting Osipova dances her style no matter what, but I couldn't care less, I just enjoy watching a fantastic dancer. Oh and I did have my pic taken on the stairs with two of my grandchildren, whilst on our way to The DGGT. :) I remember when I was a massive Bob Dylan freik, I used to critisise other fans for asking for songs such as Blowing in the Wind, Mr Tambouring Man, etc etc. I then realised I'd become something of an elitist, and they had every right to do or enjoy what they wanted to. 

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On both occasions, I could not see the Song Bird soloist do the fluttery hand movements behind her back.  It could be that I was sitting the wrong side of the stage for the live performance, but it didn't show up in the cinema either.  Do they still do it?

Sometimes they do it but (my impression is) this seems to be another of rather too many subtleties - see other posts - which are getting forgotten.

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So tonight McRae was tremendous, and his variation in the grand pas full of his

trademark moves which he so enjoys, which rightly earned cheers.Salenko was poised, lyrical and phrased everything beautifully. Couple that with a gorgeous Bluebird from Sambé, and superlative acting from Mayara Magri (her relief at Lilac's Fairy's 'manumission' of Aurora brought a tear to my eye...) and what can I say...it was wonderful.

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So tonight McRae was tremendous, and his variation in the grand pas full of his

trademark moves which he so enjoys, which rightly earned cheers.Salenko was poised, lyrical and phrased everything beautifully. Couple that with a gorgeous Bluebird from Sambé, and superlative acting from Mayara Magri (her relief at Lilac's Fairy's 'manumission' of Aurora brought a tear to my eye...) and what can I say...it was wonderful.

I agree Nick. McRae was spectacular, and I loved Salenko's languid elegance. They dance together so well, and you can see how deeply they respect each other, and how much they derive from their partnership.

 

Yuhui a lovely Florine; such beautiful arms. Sambe fabulous again. Itziar Mendizabal just about held on to her variation (will anyone ever be able to do this properly again?) but I liked her interpretation of the role. Olivia Cowley was a crazy wicked Carabosse...she is such a fine dance actress (or are we supposed to say actor these days?!). I liked David Donnelly's Florestan; having watched him in The Invitation and other roles in the past year I think he has good potential for Lensky with the right coaching.

 

All in all a great way to finish my long run of Beauties. Thanks to all the casts at all levels who have, between them, breathed new life into this ballet for me.

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I agree Nick. McRae was spectacular, and I loved Salenko's languid elegance. They dance together so well, and you can see how deeply they respect each other, and how much they derive from their partnership.

 

Yuhui a lovely Florine; such beautiful arms. Sambe fabulous again. Itziar Mendizabal just about held on to her variation (will anyone ever be able to do this properly again?) but I liked her interpretation of the role. Olivia Cowley was a crazy wicked Carabosse...she is such a fine dance actress (or are we supposed to say actor these days?!). I liked David Donnelly's Florestan; having watched him in The Invitation and other roles in the past year I think he has good potential for Lensky with the right coaching.

 

All in all a great way to finish my long run of Beauties. Thanks to all the casts at all levels who have, between them, breathed new life into this ballet for me.

 

 Why has the Lilac Fairy variation become such a struggle? Calvert did fairly well at the cinema showing but I've seen so many come to grief that I was primed for disaster even though it didn't happen. Did Bergsma and Mason have this problem?

 

Given that the wonderful Olivia Cowley is female "dance actress" seems entirely appropriate - she's such a beautiful dancer and I'm looking forward very much to her Larisch.

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I'm sad I had to miss the act 2/act 3 section because of a thumping headache last night - I had enjoyed the beauty of Ms Salenko's dancing in Act 1, and had been looking forward to the 'vision' scene and the gpdd. Oh well, better luck next time.

 

Like Sim, I have enjoyed this run of Beauties as it did indeed seem energised by much of the new casting (and even the more 'usual' casting seened to have fresh impetus). My own favorites have been Yasmine Naghdi, Sarah Lamb and Akane Takada as Aurora (sad I missed Francesca Hayward and Lauren Cuthbertson), James Hay and Vadim Muntagirov as the Prince, Claire Calvert as Lilac, Ms Hayward as Florine, and Marcellino Sambe as the Bluebird. And I still love the dances of Aurora's Friends and Lilac assistants! :-)

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When - and why - did RB stop casting Principals as Lilac? Did this coincide with dancers struggling with her Act 1 solo?

 

I'm going back 11 years but I still remember Nuñez as Lilac - no wobbles or nerves then. Has the choreo changed, or should Lilac really be danced by a Principal?

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When - and why - did RB stop casting Principals as Lilac? Did this coincide with dancers struggling with her Act 1 solo?

 

I'm going back 11 years but I still remember Nuñez as Lilac - no wobbles or nerves then. Has the choreo changed, or should Lilac really be danced by a Principal?

 

maybe time to go back to casting a Principal. Most seem fine for the first part of the solo, but when they go to those ugly, ugly 'Italian fouettes' (I think that's what the step is) many have fallen to pieces as if they can no longer find their centre of balance. It ends up making an ugly step into a disastrous one.

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I have to agree, it spoils an important moment- and the serene Lilac Fairy's face wincing with anxiety doesn't really help either, but can you blame them, if they don't feel comfortable with the steps.

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The thing is, with SB there are plenty of other lovely roles in which an up-and-coming Artist or First Artist can have their mettle tested - all the roles are so purely classical. They don't need to be chucked in at the deep end with Lilac, inadvertently making a hash of that huge Act 1 solo. I'm really starting to think it should be danced by Principals or at the very least, very experienced and technically excellent First Soloists.

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The Kirov used to field Lopatkina and Kondaurova as Lilac Fairy, clearly they see it as a principal's role.  Shame the RB doesn't,

Edited by MAB
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I didn't see any of the performances in this run but in the last run it was the forward steps lifting alternate legs high (I don't know what they're called) that looked so ungainly. I wonder whether it's a question of strength. I'm not going to name names but some of the very slightly built, leggy, hyper-flexible ballerinas don't look very strong to me. People have mentioned Nunez successfully navigating the role's choreography. She always looks very strong physically to me, in addition to having a secure technique.

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I agree re Nuñez. Mind you, there can't be many longer limbed and flexible than Lamb - and Lopatkina, for that matter - and Lamb is very strong and secure. I definitely see Lilac's difficulties caused by inexperience and/or nerves, not physique.

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I recently saw Sara Mearns do the Lilac Fairy (very beautifully) at NYCB and she is one of their biggest 'names'

 

There is more dancing for the Lilac Fairy in that production.  (Have not always been a great fan of Peter Martins' choreography ... but the creative care in his take on SB is - with SPW's - among my very favourite productions of the work.  It even has the Three Ivans back.)  My all time favourite puss had to be the sadly late Albert Evans (who originated the role in that production) ... and surely Tiler Peck is one of the great Auroras of our age.  Also it has Balanchine's stunning Galand Dance with that wealth of community - including all those children doing the the adult's choreography .. and that rapturous solo for the Prince immediately after the vision scene - so spectacularly danced by Damien Woetzel (originally) and now Tyler Angle.  Oh, and (now like the RB - praise be) the score at the composer's deciated tempi too.  Very Balanchine that of course.   With him the music always came first. 

Edited by Bruce Wall
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I find it a bit odd that some of the principals and very experienced senior soloists are being cast as one of the other prologue fairies, and as Princess Florine, but not as the Lilac Fairy.  Especially as the principals being used are dancing Aurora on other nights as well.  Is it because she doesn't have much dancing in the other acts, and therefore it is seen as more of a character role, and  a bit beneath senior principals. 

 

On that topic, why has Morera not been cast in any role in the SB?  I remember her being a fantastic fairy in the past, one of the only ones to cope with the technical difficulties at the correct spped.  It can't be because of injury, as she wasn't cast in the first place.  Has she ever done the LF?  And Lamb had her Auroras back in December (I think?).  I could see her as a gorgeous LF.  Are they too busy preparing for other roles?  They can't be any busier than Nunez, who seems to have a pretty full season ahead of her. 

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I can't pass comment on either of those, as I didn't see them.  I don't remember either of them getting glowing reviews though, although I stand corrected if I have missed praise for either of them somewhere.

 

I only added the bit about "senior soloists" because I was thinking about Nagdhi and Choe, both of whom shone for me in the fairy variations.  And I tend to think of them as principals, even if they are not!  I am sure Naghdi could do a brilliant LF, but she is unlikely to be cast, now that she has tackled Aurora. 

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I can't pass comment on either of those, as I didn't see them.  I don't remember either of them getting glowing reviews though, although I stand corrected if I have missed praise for either of them somewhere.

 

I only added the bit about "senior soloists" because I was thinking about Nagdhi and Choe, both of whom shone for me in the fairy variations.  And I tend to think of them as principals, even if they are not!  I am sure Naghdi could do a brilliant LF, but she is unlikely to be cast, now that she has tackled Aurora. 

 

I recall Naghdi performing the Lilac Fairy variation rather wonderfully in the Young British Dancer of the Year (the year before she won the competiton).

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The fact remains that certain dancers, three in particular, are continuously sniped at and not one is a bad dancer. 

 

If Osipova is 'one of the three', who ever said she was a bad dancer? She's a fabulous dancer, but I don't think her interpretation for Aurora worked at all. No-one in this thread, as far as I can tell, has attacked her ability to dance or labelled her a bad dancer.

 

 

 

 

 

 

 

 

These comments seem to be implying that Osipova has a lack of respect for the the Royal Ballet production and is self-involved and egocentric in performance. Criticising a performance is fine, but questioning a performers motivations is unfair. 

 

 

I still don't see how this is rude. My opinion of her performance is that the focus was more on showcasing her impressive talents to do fast pirouettes, high leaps etc rather than to adopt a classical style or to convey Aurora's character. I didn't at one moment feel that I was watching a sixteen year old Princess who is cast under a spell and then awoke to find her dream Prince, instead I felt like I was watching Osipova. I felt conscious that she was on stage - I never felt I was watching Aurora.
 
To put it all to bed - I think that what is so fabulous about this Forum is that it sparks debate, brings out emotion and quite frankly acts as a little slice of escapism when you should be doing work! I think that if you disagree with posts, it's a shame not to say why as this would, and should, always be welcomed by everyone who posts on this Forum. I know my comments have sparked debate and I think that's healthy, but I would like to hear more about why some disagree - what have they seen that I didn't? I would like to know so that I can look for it in future performances - find that missing piece of the puzzle! We must all agree to disagree, but I think it's a shame that a dancer like Osipova causes a debate where if you haven't like her, you're made to feel like your post is wrong, when in fact, whatever we all write is valid and important.
 
On another note, I've always found SB tiring and slow, but this recent run has really changed this for me and I would like to thank everyone at the RB for their commitment and dedication especially for such a long run!
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Osipova is a wonderful technician, a superb Kitri and a fascinating Giselle who manages at the beginning of the second act of that ballet to suggest the presence of demonic powers.There are other roles in which I find that the fit between her personality,her technical skills and her stage persona is less effective.Her Lise should work as it was created for a great technician of an earlier generation but for me it does not quite work because while I am aware of her great technical skill, her overt virtuosity gets in the way of letting the choreography create the character and I end up not sufficiently aware of who her Lise is. Somehow for me she is so ebullient in her dancing that the passionately lazy,wily peasant who will eventually become a character not unlike her mother manages to get lost in the bravura technical display.It is interesting enough to see it once but, for me, it does not bear repeat viewings.

 

I can understand Osipova's frustration at being typecast at the Bolshoi but for me I am afraid that I think that the company's management got it right when they decided that she was not destined to be a classical ballerina.I don't blame her for wanting to expand her repertoire but so far her accounts of classical roles have not worked for me in large part because I am always aware of the raw power.Classical ballet is an art form in which art conceals art and for me Osipova rarely conceals her art so in act 1 Sleeping Beauty Osipova gives us an Aurora whose exuberance is more suited to a role like Kitri, than the effortless elegance which  Aurora needs to show the audience in that act not only because she is a princess but because to throw so much high octane technique at the first act means that she has little extra to offer in the act 3 grand pas de deux. I think that like Rojo who used to treat the Rose Adagio as an Olympic style event, the effect of displaying so much overt virtuoso technique is to destroy the ballet's architecture and the role's trajectory by undermining the cumulative effect of each act. 

 

There has been no moment of revelation with Osipova in a classical role when I have thought "Yes that is another, valid way of performing that role".Cuthbertson and dancers of earlier generations have made me see well known choreography as if for the first time in their performances.I am afraid that Osipova has not succeeded in doing that for me so far.That does not mean that I would not buy tickets to see her in other ballets in the hope that something may work. I sincerely hope that she does find other roles in which she can do justice to the role and her own unique talents. 

 

The Lilac Fairy problem is rather worrying because it reveals that for all the "improvements" in technique not everything is better  now than it was in the past. What I find really odd is that none of the dancer's cast in the role were particularly good let alone outstanding.Perhaps I am being naive but I should have thought that the Italian fouettes, like every other step, can be mastered by practice and coaching. It is not as if this is the only ballet in which they occur. I seem to recall that several of the dancers cast as the Queen of the Dryads in Acosta's Don Q were also  let down by their problems with this step.

 

The company has had a number of great Lilac Fairies in the past,. Beryl Grey who I have only seen in a recording, Bergsma. Mason, Nunez and Zenaida Yanowsky all of whom I have seen in the theatre.Their command of the choreography established their power and dominance of the stage for the rest of the ballet. The company has fielded some really weak Lilac Fairies in the past, who shall be nameless, and it seems intent on doing so again.

 

I have seen the following First Soloists  in the role Calvert, Crawford, Mendizabal, Stix-Brunell and one very junior dancer Storm-Jensen. I will say that I did not think that any of them were that brilliant but that while Storm-Jensen had the excuse of youth and inexperience the others did not.Storm-Jensen made a bit of a mess of her solo at her debut but she was much better and far more assured the following week. There is no doubt in my mind that she can do the choreography as she managed it quite well in the Clore Studio and brought considerably more character to her interpretation of the role on stage than most of her seniors managed. I  don't think that it helps to have so many dancers in this key role. Perhaps Kevin should arrange an in-house Italian fouette competition or insist that everyone practice them regularly but perhaps what they really need is to get someone in to give some special coaching in the Cecchetti method to those cast in the role.

 

As far as the rest of the Fairy Variations are concerned I would not insist on senior dancers performing them as some of the best performances of them in this run came from junior dancers like Anna Rose O'Sullivan,and Isabella Gasparini or those who are recently promoted Soloists and First Soloists such as Magri and Naghdi. As to what needs to happen,greater care needs to be taken over casting the roles and coaching them. I think that everyone would benefit from management assembling an exemplar cast at regular intervals so that everyone,and particularly those in the junior ranks, has a good idea of what these roles should really look like in performance.

 

On the basiS of what the performances were like with Koen Kessels in the pit management needs to dispense with the services of its Russian specialist ballet conductors and ensure that every performance of the ballet has either Mr Kessels or someone of his calibre in the pit propelling the action forward rather than indulging the dancers with lethargic tempi and boring the audience by ironing out the speed and rhythmic contrasts between the variations.The same comments apply to the third act divertisements. I can but hope.

Edited by FLOSS
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I just went back to check the clip of Beryl Grey dancing the LF on another thread.  Apart from confirming that she keeps moving continually into the various arabesque positions, rather than stopping between them, I am not sure if she does Italian fouettes?  It looks more like 180 degree pivot with the leg extended in arabesque.  Sorry if that doesn't sound very technical, I have no idea whether that movement has a specific name.  Or are there two types of IFs?

 

These are what I understand by Italian fouettes:

 

https://www.youtube.com/watch?v=FtrgKD6bg8g

 

Incidentally, there used to be an absolutely gorgeous clip of someone doing the IFs.  I thought it was Carla Fracci, but a search has proved fruitless.  Whoever it was made the movement look graceful and elegant. rather than strained, anyway.   

Edited by Fonty
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Thanks Fonty.  I was also going to say that the RB's Lilac Fairy variation doesn't contain Italian fouettés.  Italian fouettés are those found in Gamzatti's variation and that of the Queen of the Dryads in Don Q (a developé followed by a turn with a transition of the leg into attitude, though it can also end in arabesque).  The Lilac Fairy simply does a fouetté whilst turning.  Interesting that many other major ballet companies do not include this (pretty difficult) step in their Lilac Fairy variation.

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maybe time to go back to casting a Principal. Most seem fine for the first part of the solo, but when they go to those ugly, ugly 'Italian fouettes' (I think that's what the step is) many have fallen to pieces as if they can no longer find their centre of balance. It ends up making an ugly step into a disastrous one.

 

I think if you're a First Soloist in a company of the standing of the RB you really ought to be able to dance the Lilac Fairy variation (acknowledging of course that everyone has an off night) after all most First Soloists are aspiring principals. If you can't cope with the choreography then maybe you shouldn't be a First Soloist ) or there's something really really wrong with the coaching. I somehow wouldn't expect Choe or Nagdhi to have a problem with it. 

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This is probably a mistake to post now as have been away and am surprised this SB thread still going strong.....but anyway as you have commented again recently to the pointe ( and sorry I got your name wrong last time) ....I would just like to say that the comment I thought was a little disrespectful to Osipova ...as a person.... rather than as a dancer was ..."Osipova was just being Osipova" ....an implied criticism ( to me )that she was putting herself and ego etc before the role and I definitely don't think she was ....I do,believe in her as an artist a bit more than that! Anyway I think Saodan in her post has expressed all this this pretty well.

 

Your comments regarding her interpretation even though I don't agree are definitely fair enough though. Her aurora was very different but what was revealing to me was she was so real....and I like this about her.

 

Before this run I remember saying after I'd booked to see this performance that I wasn't sure whether Osipova would suit this role.....I thought she might be too strong for it......and maybe this is what some do feel now having seen her....But in fact for me ... instead she has shown that it is possible to interpret this role a little differently and for it to be hugely enjoyable ...so she has widened my perceptions ....and you can only thank an artist for doing that.

 

Just a word on choreography .....some of it for these older ballets is not written in stone....and sometimes bits of "original" choreography can get lost if dancers choose not to perform etc( or actually cannot perform as well as original interpreters etc) so it's difficult to say whether an artist... of say Osipova 's calibre ...has danced something that can be considered as part of the rep.for this ballet ....rather than she has just added bits of her own invention as it were. I believe some original choreography was for the strengths of the dancers they were created on...so there does seem to be some leeway in EXACTLY which steps at certain points are performed.

 

I personally thought she reacted very well with all on the stage the night I saw her dance ( March 1st) and extremely well with her partner Hirano.

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This is probably a mistake to post now as have been away and am surprised this SB thread still going strong.....but anyway as you have commented again recently to the pointe ( and sorry I got your name wrong last time) ....I would just like to say that the comment I thought was a little disrespectful to Osipova ...as a person.... rather than as a dancer was ..."Osipova was just being Osipova" ....an implied criticism ( to me )that she was putting herself and ego etc before the role and I definitely don't think she was ....I do,believe in her as an artist a bit more than that! Anyway I think Saodan in her post has expressed all this this pretty well.

 

 

Not having seen Ms Osipova I just thought TTP meant the same as the way I always describe John Wayne's performances - that he is John Wayne in every role.  Sometimes this works (e.g. The Searchers - one of my most favourite films) and sometimes it doesn't.

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