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The Royal Ballet: Mayerling, London, April/May 2017


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9 minutes ago, zxDaveM said:

I agree - Akane Takada was sensational as Mary Vetsera. Just lately, she seems to have the knack of turning everything she dances into a platinum rated performance. And she couldn't have gotten in that much rehearsal time after poor Sarah Lamb damaged her foot so recently.

 

I totally agree with you about Akane and I'm truly gutted not to have been there last night :(:(  

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16 minutes ago, Mummykool said:

How did McRae fare? I thought he over-did it on his debut, but have to admit that, out of  the three Rudolphs we saw, I felt sorriest for his in the final act. 

 

I'll write more in due course but I didn't initially find him dramatically convincing: his flashes of rage seemed more petulant, as in the scene with Stephanie. However, he is technically such a superb dancer that nothing in the demanding choreography seemed to challenge him at all (contrast with the matinée) enabling him to explore a variety of dramatic options that will no doubt settle in to something more coherent as and when he gets further opportunities to perform the role. I felt that the drunken freedom in the Tavern Scene was overdone but as the screw of the drama began to turn and as he was joined by a remarkably passionate Ms Takada he seemed to settle and if not as moved as I was by Bonelli I did feel sympathy as well as revulsion by the end.

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What an interesting couple of weeks with seeing all four casts!  Of the Rudolphs/Marys I enjoyed Bonelli/Morera the most.  Felt more sympathy and involvement with them.  For me, Watson/Osipova were somewhat more withdrawn, although I didn't see the third performance, which others on the forum have commented on.  McRae danced is marvellously - probably the best danced performance of the lot, but to me his interpretation came over as somewhat manic.  Soares a bit wayward, although I loved Cuthbertson.  There has been a lot of comment on here about the characters of Rudolph and Mary and it's tempting to make our own judgements about the real historical characters and transpose them to the ballet characters. So it's possible that all four Rudolphs bought something of the character to their performances - we will never know.  Apart from the casting of the two leads, I think all four casts have been superb, and I think we have the most brilliant collection of dancers at the ROH in the many years I have been going.  Like other members of the forum I loved Alexander Campbell's Bratfisch, and the various Hungarian officers have all been superb - some future Rudolphs among them?  Will now have to settle down and look forward to the delights of the Quadruple bill next week!

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Returning to yesterday's matinée if I may, I took my teenage dd to see her first Mayerling.  Having waited almost to the end of the run to see Soares and Cuthbertson, we were not disappointed.  Dd never speaks until afterwards (and then says little), involving herself completely in the performance, but was overwhelmed at both Soares' performance and Liszt's incredible music.  

 

I was surprised at the level of sadness and sympathy I felt for Thiago's Rudolf, in fact he was extraordinarily moving and I was almost heartbroken by the end.  He made me much more emotional than Watson, which was unexpected.  Likewise Cuthbertson's portrayal managed to be tender as well as calculated and I felt almost more love for Rudolf from her in Act 3 than obsessive passion.  

 

The orchestra was on absolutely top form yesterday and it, along with Martin Yates, received well deserved cheers several times.  

 

Too many super performances to mention all, but of particular note were Christina Arestis, Gary Avis, Beatriz Stix-Brunel as Princess Louise, Claire Calvert who was a luscious and captivating Mitzi.  Yuhui Choe as a conflicted dutiful but incredibly fearful Stephanie, Tristan Dyer as an increasingly saddened Bratfisch, and Hirano/Ball/Zuchetti and Edmonds dancing exceptionally and with great stage presence as the Hungarian officers.  

 

Without a doubt though, it was Cuthbertson's unfailingly beautiful lines and her brilliant acting that wowed me - and Soares' Byronic beauty, sadness, confusion and tragedy that overwhelmed me and will stay with me.  How I wish the run had been longer as I would have jumped at the chance to see Bonelli and Morera, as well as another chance to see Soares.  

 

As an aside, the audience was quieter and less "coughy" than usual! I felt I wasn't the only person forgetting to breathe during Act 3.  I was astonished to see a very tiny child in the Royal Box who can't have been older than 5 - an extraordinary choice of ballet for such a small child! 

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9 hours ago, simonbfisher said:

On another note, who was the very first Bratfisch? I keep thinking Michael Coleman, but I am sure the dates don't work. Anyone help?

 

4 hours ago, Bruce Wall said:

 

Graham Fletcher was the original Bratfisch.  I saw him do it when the ballet had its New York premiere - with some of its original 1978 cast still about in various cast sheet permutations I think - (I remember seeing both Wall and Eagling as Rudolf and Ferri as a particularly daring Mary and Park who was mesmeric as Larisch) at the Metropolitan Opera House in 1983.  Here is an overall positive NYT review of that same which both (i) praises Mr. Fletcher's input and (ii) gives a very apt precis of both the work's strengths and weaknesses.  

 

As Bruce Wall says, Graham Fletcher was the original Bratfisch. You can see how wonderful he was on the South Bank Show documentary. Watching James Hay's superbly controlled slow turns and extensions (beginning of his third act solo) made me hope to see him cast as Des Grieux next year.

 

As many others have pointed out, Steven McRae, danced the role of Rudolf magnificently. He really made the choreography sing like no other I have seen and his precision partnering was outstanding. However, his portrayal of Rudolf as a vile, twisted and unsympathetic character from the outset made no sense of Bratfisch's sadness at leaving him. I also wanted to find out his secret for sobering up quite so quickly outside the brothel. Must be something in that fresh Viennese air!

 

Simon, the dates do work. Michael Coleman was the lead Hungarian Officer in the original.

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Akane was truly fantastic last night.  Such a beautifully fluid dancer.  I just couldn't take my eyes off of her - remarkable for a last minute debut.  Steven was fantastic too - its an incredible role for the male lead.  So technically demanding, an absolute powerhouse role.  The 3rd act was spellbinding. What a wonderful birthday treat from a dear friend. 

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Well, what a shock last night, what could have been a careful performance turned into a sensational success for Steven McRae and Akane Takada, her dancing was as beautiful as ever but where did all that passion come from?,  she and Steven McRae took huge risks and it worked, I thought Kevin O'Hare might have made an announcement at the start but he must have had complete faith in them and didn't need to!

 

What an ending to this run of Mayerlings, was it Johannes Stepanek's farewell?, he took 2 curtain calls and seemed to be waving goodbye, very sad if it was.

 

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I agree with Anna C yesterday's matinee was very good - I enjoyed it more than the opening night performance I saw.  I was really impressed with Cuthbertson and Soares was just as I had hoped he would be - he is a good actor and danced his heart out as well.  Yuhui Choe was as lovely as always.  A couple of pics from curtain call.

C_yQJ8TXkAUc1Kj.jpg

Thiago Soares

C_yQJ8ZXUAAO3hs.jpg

Lauren Cuthbertson, Thiago Soares and Itizar Mendizabal

Edited by Don Q Fan
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43 minutes ago, Beryl H said:

 

What an ending to this run of Mayerlings, was it Johannes Stepanek's farewell?, he took 2 curtain calls and seemed to be waving goodbye, very sad if it was.

 

I believe it was - there is a thread about his retirement on here.

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2 hours ago, Darlex said:

his portrayal of Rudolf as a vile, twisted and unsympathetic character from the outset made no sense of Bratfisch's sadness at leaving him. 

 

Maybe Bratfisch's affection and loyalty is primarily directed towards Mary, rather than Rudolf, and it is she he feels for on departure?

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1 hour ago, Don Q Fan said:

I agree with Anna C yesterday's matinee was very good - I enjoyed it more than the opening night performance I saw.  I was really impressed with Cuthbertson and Soares was just as I had hoped he would be - he is a good actor and danced his heart out as well.  Yuhui Choe was as lovely as always.  A couple of pics from curtain call.

Nice pictures. It's not always easy to tell, but I had the impression that Soares got louder and warmer appreciation at yesterday's matinee than at his evening performance on 4 May. If so, I'm glad as he certainly deserved it (at both performances, in fact). During the performance everyone around me was remarkably quiet and attentive, which is itself a good audience response. 

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2 hours ago, Geoff said:

 

Maybe Bratfisch's affection and loyalty is primarily directed towards Mary, rather than Rudolf, and it is she he feels for on departure?

I've always thought his sorrow was directed at Mary.After all, he is pretty closely involved in taking her to meet Rudolph.

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I was stunned by last night's performance...McRae's dancing  was so strong and beautiful technically that it was just unbelieveable to watch, on a different plane technically to any Rudolf I had seen, (except Kobborg perhaps) and I actually found his pas de deuxs with Mary moving for the first time, as he and Akane- wow, how they managed to perform with such passionate commitment, at such short notice is quite impossible to comprehend!- somehow lit a fuse.

 

I look forward so much  to seeing them together again- it was quite thrilling.

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3 hours ago, Geoff said:

 

 

6 hours ago, Darlex said:

 

 

 

As many others have pointed out, Steven McRae, danced the role of Rudolf magnificently. He really made the choreography sing like no other I have seen and his precision partnering was outstanding. However, his portrayal of Rudolf as a vile, twisted and unsympathetic character from the outset made no sense of Bratfisch's sadness at leaving him. I also wanted to find out his secret for sobering up quite so quickly outside the brothel. Must be something in that fresh Viennese air!

 

 

 

'made the choreography sing' says it so well- thank you Darlex.

 

I actually felt more sorry for McRae's than for other Rudolfs, and am pondering why- I think he did show the pressure he was under, which created a sense of sympathy- especially with the leaning Hungarians, and the yearning arms in the scene with his mother.

i agree about the drunk scene- that needs toning down a trifle. It was a bit too much like one of those blokes on the last train home..

 

Otherwise- I thought he was wonderful.

 

(Sorry I can't remove the previous quote!)

Edited by Mary
typo
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Hope all the lucky ones who were able to see so many Mayerlings don’t suffer from withdrawal symptoms now.

I feel quite envious, but I’ve benefited greatly from reading all of your comments and enlightening details, especially about previous performances and diverse interpretations.

 

I had read about the ballet in “Different Drummer” and only seen the DVD with Watson / Galeazzi and then the live performances were a true revelation.

 

The South Bank Show also is a very good source.

 

Now I still have to watch the DVD with Mukhamedov / Durante I just received... and then I’m ready for a new run of Mayerlings…!

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On 12/05/2017 at 02:32, penelopesimpson said:

What a night. Osipova was magnificent and having seen all three performances, this was a fitting finale.  She showed love and passion tonight as well as obsession and I couldn't take my eyes off her. Ed, well, he is Rudolf and tonight he was just off the scale wonderful.

 

There was a wonderful moment in the third act when all you could hear was Ed and Natalia breathing, that's how quiet the house was.  

 

I hope I see it's like again but somehow I doubt it.

 

Yes, that moment in act 3 was electric. You could have heard a pin drop... even now, a few days afterwards, I still get goosebumps thinking of that moment & the entire final act. 

 

I only saw the 1 cast unfortunately (due to dates); the first & final performance of the Ed Watson/Natalia Osipova cast. Others have already expressed their views wonderfully & so I don't think I have anything else to add (she says, continuing to type). I would have loved to have seen the other casts, including Akane's debut, & Federico's Rudolf... Till next time I guess. 

 

The final performance on the 11th May felt much more stronger than the first (on the 28th April). I'm not sure if that's down to me, & how I was feeling on the night, or something else. Compared with opening night the final performance was much smoother, perhaps more assured, and ultimately felt much more emotional. I was much more involved with the characters. The entire Ballet flew by. 

 

I do really like Mayerling. It was one of the first ballet's I saw (on DVD, with Mukhamedov/Durante) & it still remains one of my favourites. 

 

Ed & Natalia's partnership was something special. No words really. Just glad to have witnessed it (their act 2 & 3 pas de deux will remain etched in my memory for a long time, I'm sure). The entire cast were on fine form throughout; Francesca's fearless performance as Stephanie (could easily see her as Mary in the future), Alexander's impeccable Bratfisch, Marianela's charming Mitzi Casper, Zenaida bringing so much character to the role of the Empress so that I viewed her (the character) with new eyes... as well as everyone else on stage. Sarah Lamb was just perfect as Larisch & hopefully she recovers soon. Olivia gave a great performance after undoubtedly short notice... 

 

Sad it's over, but looking forward to the upcoming mixed bill.

Edited by Lenore
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Glad you noticed it,too, Lenore.  Took me a moment to realise what I was hearing.  Don't think I've experienced that before. 

 

I am wondering if the heady passions of Mayerling exert a hypnotic effect.  Since the opening I've been walking on air and now its all over, I am strangely flat.

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Well, it’s over – and far too quickly with possibly too many performances packed into little more than a fortnight. Mayerling is a ballet which, for me, needs time to soak in after each show as well as being experienced ‘in the moment’ and, this time, I felt that one had to ‘move on’ to the next interpretations too speedily for absolute comfort.

 

There have been some excellent ‘reviews’ on here, for which “thank you” everyone. What I am taking away in particular from this awesome run is:

  • ·         the jaw-dropping Rudolfs from Watson and Bonelli, the stupendous Mary Vetsera of Morera and the particularly affecting Bratfisch of Campbell
  • ·         that Mayerling doesn’t quite work unless the leading man’s dancing, partnering and characterisation are equally ‘top notch’ (Soares' dancing disappointed me, I’m afraid, as it did in Diamonds)
  • ·         it is important to be able to identify with both Rudolf and Mary even if they are fundamentally unsympathetic characters and, for me, some of the acting felt a bit layered onto the surface
  • ·         how suited to this ballet the RB roster of dancers currently is – not just the ‘usual suspects’ like Lamb (Larisch) and Yanowsky (Empress) but all the Stephanies I saw (did Maguire dance on the last night, I wonder?), all the Mitzi Caspars, Marriott and Avis (Emperor) and all the Hungarian Officers and, above all,
  • ·         what a masterpiece Mayerling is.

Here’s hoping that this wonderful ballet will return to the rep. very soon with at least 2/3 new Rudolfs.

Edited by capybara
typo
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14 hours ago, zxDaveM said:

And she couldn't have gotten in that much rehearsal time after poor Sarah Lamb damaged her foot so recently.

 

I believe there was a bit more time between the accident and the announcement than we might have thought - possibly while management checked that the partnership was a valid one?  And she had already learned the role as the cover, fortunately.  But even so, it can't be easy to do that partnering in such a short space of time.

 

13 hours ago, Jamesrhblack said:

if not as moved as I was by Bonelli I did feel sympathy as well as revulsion by the end.

 

13 hours ago, Anna C said:

I was surprised at the level of sadness and sympathy I felt for Thiago's Rudolf, in fact he was extraordinarily moving and I was almost heartbroken by the end.  He made me much more emotional than Watson, which was unexpected. 

 

I'm never quite sure how moved/sympathetic etc. I should feel towards the Rudolfs. In the past, some of the ones I've felt most moved by haven't necessarily been the ones I thought were the best :)

 

9 hours ago, Don Q Fan said:

I believe it was - there is a thread about his retirement on here.

9 hours ago, Anna C said:

Lovely photos, Don Q fan :)

 

Did anyone take any for the last Watson performance?

 

9 hours ago, Geoff said:

 

Maybe Bratfisch's affection and loyalty is primarily directed towards Mary, rather than Rudolf, and it is she he feels for on departure?

 

I've never thought so.  I think the last interplay between Rudolf and Bratfisch is telling.

 

1 hour ago, capybara said:

Well, it’s over – and far too quickly with possibly too many performances packed into little more than a fortnight. Mayerling is a ballet which, for me, needs time to soak in after each show as well as being experienced ‘in the moment’ and, this time, I felt that one had to ‘move on’ to the next interpretations too speedily for absolute comfort.

 

Quite.  I'd have appreciated the chance to see more than the one :(

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8 hours ago, alison said:

 

Quite.  I'd have appreciated the chance to see more than the one :(

 

I'd have appreciated the chance to see one. :(  Unfortunately, the short run coincided with my holiday. 

 

I do question the programming a bit.  I would have thought that all 3 of the MacMillan "big" ballets were very popular, and could have benefited from a slightly longer run.  Likewise the very short run of the Ashton triple bill - one performance fewer than the preceding triple, which contains one ballet that didn't seem to be all that popular when it first appeared, and one new ballet which is always slightly risky.  

Edited by Fonty
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I saw the Saturday matinee with Thiago Soares, Lauren Cuthbertson, Yuhui Choe et al.  I came out an emotional wreck!

 

To me, Soares portrayed Rudolf as an emotional man desperately seeking affection from his parents but not sure how to get it.  His dysfunctional family could explain how he had arrived at the emotional place he was in as the ballet started.  Yuhui Choe was just outstanding as Princess Stephanie.  Her emotions in the bedroom scene ran the gamut from A to Z and back again - she was both terrified of her husband but desperate to please.  The duet took my breath away.

 

With Lauren Cuthbertson's performance it was very obvious that although Mary Vetsara may only have been 17 years old but she was definitely in charge of the relationship.  I felt that she seduced Rudolf, she was seduced by the danger of the gun and seduced by the idea of suicide.  It may have been Rudolf's suggestion but to me she took control and forced both her own murder and his subsequent suicide.  Again their final duet took my breath away.

 

Thiago Soares' performance was masterful, he found something within the character that moved me to tears at several points and to the emotional wreck I had become by the end!

 

I'm very glad this was the performance I chose to see.

Edited by Jan McNulty
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Well, after seeing Mayerling twice in one day (through slightly unexpected circumstances), my most over riding reaction is what a strong and moving piece of dance theatre it is. Yes, there are grumbles about the construction and the perceived padding, and yet over two consecutive shows (as well as a Friday/ Saturday matinee at the start of the run), I wasn't conscious of any longeurs at all and continued to see new details in the characters and presentation.

 

I wrote at (too much?) length of my impressions of the first two casts so will keep this briefer and concentrate more on my reaction to performance as opposed to content.

 

At the matinée, I seem to be in a minority for not having been as taken with Soares and Cuthbertson as many others. Although he is a strong partner, his dancing seems to be in technical decline and were some real struggles. That first solo is hard for everybody (but see below) and I'm usually not overly judgemental at that point) but other exposed moments also seemed to cause strain and I found his characterisation (again in contrast to many others) seemed one dimensional which disappointed me as I'd expected more (and I was on the front row of the Stalls so close enough to see and register).

 

Cuthbertson (an artist that I really like) also disappointed me. She seemed too mature and sophisticated for Vetsera, and much more of a natural Larisch. I never felt that she was being swept away on emotions she couldn't perhaps really understand 

 

The rest of the cast impressed me: Mendizabal was a splendidly scheming and detailed Larisch (it really is a good role) who really did move the drama along at crucial moments. I'd never before noticed Larisch picking Vetsera out at the Wedding celebrations....

 

Gary Avis is surely one Emperor to rule them all (a pity he can't be cloned to dance Bay as well) and Arestis was an interesting Elisabeth, in that she really melted with Bay and seemed mildly amused at presenting the portrait, so the contrast with her coldness towards Rudolph was strongly etched. She's such a fine artist and I wish I knew how the system could reward her years of service promotion wise. Choe was an unexpectedly feisty Stephanie and I rather liked her fighting back, only to find that Rudolph was, of course, stronger than she was, and her disdain in the Tavern scene was palpable. 

 

It was lovely to see Tristan Dyer back on stage and he was a delight as Bratfisch, fluent, engaging and concerned and there was good work from the officers (led by Hirano). Calvert was a pleasing rather than memorable Mitzi - I didn't sense Nunez's technical exuberance or Stix-Brunell's more infatuated affection (she was great as Louise in the afternoon and a dancer who I always like to see).

 

I should stress that my criticism of Soares is entirely my own view and I have nothing but admiration for any artist able to master this ferocious role in the first place. 

Edited by Jamesrhblack
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The evening show was enhanced by splendid seats in the Grand Tier, courtesy of my artist singing Katharina Schratt. I could quite see (!) why the ballet staff choose to sit at that level, although my preference has invariably been for the Balcony Stalls.

 

There has been a lot of anticipation regarding Steven McRae's debut as Rudolph, especially as he was cast as Sarah Lamb, who seemed an unlikely choice for Vetsera. In the event, her injury brought Akane Takada in for an unexpected debut and it proved a thrilling and moving evening.

 

McRae is such an astonishing technical dancer that none of Rudolph's choreography, even the most extreme partnering, seems to cause him any difficulty at all, itself a remarkable achievement, especially given his relatively modest high and slight stature. It was a real pleasure to see solos which have caused other distinguished dancers executed with such ease, and an ease that doesn't bring superficiality but enables him to explore character unhindered by the need to concentrate on execution. I don't think all his choices convince me: the strutting walk in Act One seems petulant, the drunkenness in the Tavern scene surely overdone (as an experienced drinker, wouldn't he be able to hold his liquor better than that) and I missed those elements of tenderness and charm that Bonelli had so memorably given the role. I don't know that I was moved by his plight but I was hugely impressed by his achievement and, as I have written above, am confident that further performances will enable him to find greater variety and pathos. We mustn't forget that this is a colossal role and that no artist will ever have all the details down for their debut (which makes the achievement of Bonelli and Morera even more remarkable).

 

Takada was unbelievably good. As with McRae, her technical precision enabled her to articulate very movement with dazzling clarity (that delicious falling over her feet with excitement moment in the Card Scene, those whirling downstage turns as she approaches the gun at the end of Act Three Scene 2) but it was her total immersion in the drama that, if it's not too strong a word, stunned me. A convincing child, almost shy under Rudolph's appraising gaze outside the Tavern, girlishly infatuated, intrigued by the skull and the gun (Larisch had taught her well as those "grooming" moments of choreography show us) and then finding it almost all too easy as her recklessness in the Act Two Bedroom scene turns to boredom. She caught that praying mantis moment at the end of the Act with ferocious glee and then grew almost into compassion and womanhood before the frenzy of the end willing both herself and Rudolph to the climax. 

 

There were good things elsewhere too, and a word of praise for the orchestra which played so well under Martin Yates at all four performances I attended. Kobayashi was a slightly pale Larisch (up against vivid memories of Lamb and Cowley, to say nothing of Collier, Park and Rosato, as well as Mendizabal in the afternoon) and Paul Kay a more Music Hall - rumbustious (if that's the way to describe it) Bratfisch. McNally was a cooler, perhaps less varied Elisabeth than Arestis (who had actually knocked Mendizabal in to the desk in her fury in the afternoon) but I'm always impressed to see these more senior, usually characer cast ladies still elegant and fluid en pointe. Crawford lacked presence as Mitzi but seemed much surer technically than on the last couple of occasions I had seen her (Lilac Fairy, Mistress) even if the Officers (led by Zuchetti) rather over powered her. A special word for Johannes Stephanek, formerly a lovely Lensky who never seemed quite to get the opportunities he deserved, waving farewell as Bay, having partnered Elisabeth most elegantly in their pas de deux. 

 

I don't think this was the most moving performance of Mayerling I have seen but the achievement of McRae and Takada was surely exceptional in its way.

 

So, looking back, is it invidious to make comparisons between the various casts, allowing for the individual nature of perception and the unique nature of each performance?

 

For me, the most satisfying cast was Bonelli with Morera and Cowley, Two superb dance actresses (with Morera seizing a late chance so strongly that it made it all the more surprising the opportunity had not previously presented itself) and a natural Prince showing an unanticipated flair for dramatic presentation and created what was for me the most rounded portrayal of Rudolph (all the more remarkable in a debut).

 

The first night, perhaps over anticipated, didn't quite make the expected effect. Am I alone in finding Watson's actual dancing less satisfying and his portrayal almost too one dimensionally haunted and angst-ridden? My reservations over the last matinée are detailed above and the final show made an impact that was completely unexpected.

 

Favourites? Campbell as Bratfisch brought the most humanity and maturity to the role and seems incapable of making a movement that doesn't convey character but the other three were all terrific too. Mendizabal just edged it for me as Larisch (even over Cowley and Lamb) with the greatest variety of expression, the most vivid involvement and a sense of scheming brought out of desperation to maintain control. Yanowsky rises effortlessly over the others by sheer strength of dancing and personality, as well as having a pained, haunted quality all her own (which can be seen in her son too) although Arestis also brought something very particular to the role, whilst Avis has the most natural authority as the Emperor (as well as the most charm as Bay). Hayward and (possibly surprisingly) Choe brought something more to Stephanie than just timidity and fear (why did Maguire not dance this? There was no announcement on the cast sheet and she isn't injured as she danced a lovely Louise). Nunez would be the pick of the Mitzis for glamour and technique, although I also very much liked Stix-Brunell. Some superb work from assorted Officers (Ball, Campbell, Edmonds and Zuchetti in particular stood out for me) and a sense that here was a company at this top of its form for this particular repertoire.

 

Idle speculation: I'm not always bothered with literal chronology but as it was flagged up earlier it seems to be there is something odd going on in Act 2. Rudolph is interested to Vetsera after the Tavern scene which is followed by the Card Scene and Vetsera's letter, which is delivered by Larisch in the following Birthday scene by which time Stephanie is heavily pregnant, which she wasn't in Scene One (so, despite how it reads on stage, there has to be some time lapse between outside the Tavern and the Cards).

 

Idle speculation 2: there have been several comments as to these performances marking Watson's last Rudolphs. Even if the ballet is back in 18/19, will Bonelli and Soares still be dancing the role and, if not, who might be (or who might be in addition)?. McRae has shown that if the dancer is strong enough as a partner height and stature needn't be a hindrance, which would open the way to Campbell's superb dance technique and intelligence (and he partnered Mendizabal extremely well in Two Pigeons) and I'd also be very interested to see Nicol Edmonds, who has impressed me very much on the last few occasions I have seen him both as dancer and presence.

 

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