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1 hour ago, Mary said:

The effects were not of the blinding lights variety- there was a flat projection screen at one stage with slow images of swirling red satin ( don't ask me why)...which was certainly bright, but, it didn't fill the stage or project into the auditorium.

Most of the ballet was pretty dark. I don't recall aything shining into the audience....

 

The overhead projection was the swirling red dress - and at one point it looked like an overhead camera view of the male dancers swirling around. The backlighting looked like it shone into the first few rows of the stalls, as I recall, or perhaps that was just cos it was quite bright at that point

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2 hours ago, Mary said:

The effects were not of the blinding lights variety- there was a flat projection screen at one stage with slow images of swirling red satin ( don't ask me why)...which was certainly bright, but, it didn't fill the stage or project into the auditorium.

Most of the ballet was pretty dark. I don't recall aything shining into the audience....

 

From mid way back in the Amphi the projection screen was partly obscured anyway, so it was entirely unclear as to what was being projected.

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Delayed posting, but I saw the opening night of this bill. 

 

Had never seen the Forsythe before - really enjoyed it, felt exhausted just watching by the end! Nunez and Muntagirov dance so well together, makes me lament that they weren't paired for 'Diamonds' even more. Also a great joy to watch McRae and Muntagirov dancing side by side - it seems to me that it's rare we get to watch two male principals do so, but I'm sure I'm forgetting something. Like others, I thought Sambe and Hayward were just a joy to behold in Tarantella, and I'm sure they will get even more brilliant with more performances.

 

Strapless, for me, just doesn't work. The beginning is promising and sets up tension, which promptly falls flat during the pas de deux between Amelie and Pozzi. I'll lay a significant chunk of the blame at the door of music, which is just not 'sexy' and seems at odds with the choreography. No chemistry, for which I will not blame Bonelli and Osipova since (as the recent Mayerling run has showed) they are both exceptional actors. And it's basically downhill from there until the final unveiling and Amelie's solo. It seems to me that Wheeldon has tried to tackle this from too many perspectives - either it is about Gautreau trying to make a name for herself in society and being undone by the portrait, ultimately achieving notoriety, or it is about the inner workings of Sargent and his perspective of this society woman. As it stands, it is does not focus on either, and thus becomes an oddly emotionally detached experience as an audience member...

 

Symphonic Dances I really loved. For the lion's share of the 40 minutes, I felt like I was watching the music, or the character of the music, which for me is a thing of true joy - when I can barely separate/distinguish the music from the movement. I thought Scarlett made such clever use of stillness, of that held moment with movement suddenly bursting forth - who knows from where next. I thought the staging was very striking (although i'm inclined to agree with other posters about the projections, thankfully mostly obscured from my amphitheatre perch!).

 

I found the duet (for it was not really a pas de deux) between Yanowsky and Hay profoundly moving, for reasons I cannot quite articulate...the yearning beauty of Hay, the initial haughtiness/stillness softening to an almost maternal interaction (or at least that was my reading of it). As others have commented, the pas de deux with Reece Clarke was also wonderful, although for me the unconventional beauty of the first duet was the highlight. I wasn't mad keen on the ending, but I'd like to give it a second chance, since I mostly just found it rather unexpected!

 

Edited by standingticket
correct typo
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Thinking about Symphonic Dances ( I posted some thoughts about this on Sunday) I found it a slightly strange piece, although one that I enjoyed hugely. Still not sure why the James Hay figure was so 'cringing', for want of a better word. Was the main female figure some sort of mother figure? Why did so many movements look like athletic warm ups? Think the ending is odd with the female figure apparently getting squashed, or is she meant to be done sort of predatory figure? None of this detracted from my enjoyment,probably because it was all so very well danced. At least it's had me thinking since last Saturday!

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Agree with every word, standingticket. I will always remember seeing Muntagirov and McRae side by side. Hope it isn't the last time though.

 

I queried the 'squashed' moment of the ending on first night- does anyone have any idea what is the significance of this bizarre ending? I can't say it added to the piece in my eyes.

In fact, as the piece was homage to Zenaida, very richly deserved, I thought it was a very unfortunate choice!

 

 

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Much to engage in the second cast of this triple bill.  

 

Standouts for me were Sambe's authoritative - almost animistic - power in the Muntagirov role in Vertiginous; Zucchetti being an absolute delight in Tarantella - and infusing it with a definitive Italianate grin - oh, and a mean tambourine - and Laura Morera - Yes oh so lovely and provocative Laura Morera in Symphonic Dances.  You can see why she is Scarlett's muse.  As one regular said to me on the platform 'it is almost a different ballet'.  Indeed it is.  Morera and Ball are such fine dance actors that that third movement PDD is in an entirely different league through their bodies - not that it disappointed before.  It didn't.  ...  Here it consistently simmers in its build, then stings.  A word of praise for young Giacomo Rovero .... He is vivid in his depiction of innocence.  A shout out too for young Francisco Serrano - lovely and clean lyrical turns ... oh, and Leo Dixon - but then he always looks good in whatever he does.  Donnelly's partnering was exemplary.  What wealth through rank the RB now has ... and that without hesitation includes the MD.  Kessels made the Rachmaninoff sing throughout with rightful force.  SO much to celebrate.    

 

Edited by Bruce Wall
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The other cast last night were as outstanding as the opening night cast. James Hay and Marcelino Sambe were amazing in Vertiginous. Having seen all three Tarantella casts it was Zucchetti and Naghdi who brought real Italian flair to Tarantella. Her speed and beautiful extensions were truly impressive and she gave Tarantella just the right amount of flirtiness, lending it a soft comical edge, which clearly amused the audience. Valentino was also an absolute delight to watch. To me this was Balanchine's Tarantella danced at its best and a roaring audience seemed to agree. I'll skip Strapless, although beautifully danced by Lauren Cuthbertson, this ballet does nothing for me.Laura Morera and Matthew Ball were gorgeous in Symphonic Dances, and there was much to enjoy in this new Scarlett ballet but I found the red too overpowering at times! The middle all male section, dancing with Morera, was stunning. In the mixed Non Allegro and Lento Assai, it was Yasmine Naghdi alongside Mayara Magri - dancing with corps dancers - who gave both sections its particular force and beauty.

 

 

 

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Delighted to hear Symphonic Dances looked just as good with a second cast as I think this ballet deserves a permanent place in the repertoire, it reminded me that despite the odd hiccup, Mr Scarlett is well on the way to eventually create a work of genius.

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On last night ....

I enjoyed the second cast of Vertiginous. It's such a busy ballet I find most of the time it's easier to pick one person to watch which in my case was James Hay and I thought he was tremendous, I love how he elongates every movement and yet is totally on the music. 

Naghdi & Zucchetti were excellent in Tarantella but I still think the piece belongs in a gala. 

I couldn't being myself to watch Strapless but when I returned from my extended interval I was shocked at the number of empty seats that had appeared in the stalls circle. I can only assume it was a reaction to Strapless and if so I think that's a great pity because Symphonic Dances was terrific. Laura Morera was outstanding and the different physicality of Morera/Rovero gave a different shade to their pdd. The corps men looked fabulous & the effect of their greater physical homogeneity made the choreography with the red skirts incredibly powerful - Donnelly and Richardson were particularly eye catching in this section, as were Ball and Rovero in the pdds with Morera. The only awkwardness came in some of the entrances which seemed oddly abrupt and more like Mcgregor's style than a neo classical work and I found the choreography for the women corps generally weaker than that for the men. 

 

 

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15 hours ago, Bruce Wall said:

Laura Morera - Yes oh so lovely and provocative Laura Morera in Symphonic Dances.  You can see why she is Scarlett's muse.  As one regular said to me on the platform 'it is almost a different ballet'.  Indeed it is.  Morera and Ball are such fine dance actors that that third movement PDD is in an entirely different league through their bodies - not that it disappointed before.  It didn't.  ...  Here it consistently simmers in its build, then stings.

 

So am I correct in my understanding that this role was created on both Yanowsky and Morera, rather than on Yanowsky, with Morera also learning it?

 

So glad to read the posts above that it was such a great performance last night, although it makes me all the sadder that I am not able to see the Morera cast.

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Perhaps three is the magic number? Last evening was my third viewing of this quad bill. I saw the the friends rehearsal and the opening night performance (same cast). I love exactitude and it was great to see a second cast - it was really well danced last night as well (even if I missed Nunez a bit). I really enjoyed James Hay in this. Tarantella was 10 mins of cheeky fun and it was great to see Zuchetti's take on the role. The response from the audience wasn't as raucous as opening night but it wasn't a full house last night.

Umm, ahm and there was Strapless whose music I find a tad irritating and whose subject is too inconsequential to hold my interest. I disliked it when I saw the original version but last night, i found myself mildly engaged and I can say (truthfully) that I enjoyed last night's performance. I wouldn't rush back to see it but at each performance, there were people around me who seemed to really enjoy the piece.

i wasn't sure about Symponic Dances at first but I had already warmed to the piece on the second viewing and I absolutely loved it last night. It isn't a perfect piece but for all its flaws, it is an engaging and interesting piece. As others have mentioned, there is a discernible difference between the 2 casts - not in the sense that one is better than the other but rather a difference in the aura, intrigue and mood created by the different dancers...

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I've thoroughly enjoyed the two performances of this bill I've seen so far - and have just picked up a ticket for Wednesday because I really want to see it again. When it was first announced, I was a bit ho-hum about it as it seemed an odd mix of ballets but, for me, it really works and I love the contrast between the three parts of the evening / afternoon. The Forsythe ballet seems to be one of those pieces which is incredibly short but you feel that you've seen an amazing amount of dancing and on both viewings I could have done with an immediate repeat so I could concentrate on different aspects and dancers. I know what people mean about Tarantella being more of a gala piece but it is so irresistible (particularly with Hayward / Sambe) that you can just feel everyone sitting there with a big smile on their faces.

 

As for Strapless, I'm not only sitting on the fence but rather draped all over it! While I (sort of) agree that it is a bit of a dud and should be quietly put in a drawer somewhere yet I do actually quite like it and on both occasions I have heard audience members around me seeming to enjoy it and find it quite intriguing. I can't quite put my finger on why the parts don't add up (Osipova and great cast, lovely costumes, interesting story) but I do feel that in there somewhere is a good ballet struggling to get out and not quite making it. Despite best efforts, haven't managed to see second cast which is a shame as I would have liked to see Lauren in it as well as Natalia.

 

Really loved the Scarlett - great dancing from both casts, and thought the set and costumes really effective (not normally a fan of the swimwear look but it seemed to really work here).  It was very well received and it's great that he has a hit on his hands after a bit if a bumpy road. Very much looking forward to third viewing next week.

 

Finally, having booked today's ticket ages ago, I had forgotten what I paid for it: £6!  For that I got a brilliant seat in the amphi with a clear view of the stage, saw ballets by 4 very different choreographers, and enjoyed dancing from every rank of the company, from a global superstar right through to hugely talented corps de ballet members. All for roughly the price of a couple of coffees - amazing!

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I saw the matinee today.  I was going to give it a miss but I've always wanted to see Tarantella and also wanted to see Osipova in Strapless.  It was definitely a mixed bag for me but I mostly really enjoyed it.

 

My surprise favourite was The Vertiginous Thrill...I didn't want it to end.  I loved the Schubert, and I think the choreography was just perfect.  They danced how the music makes you feel really well.  I have never seen anything by William Forsythe so I guess I should read up on him.  Also...funky costumes! :D   

 

Tarantella was great, so much fun and exciting choreography.  Alexander Campbell had so much energy...I really loved him in this piece.  I thought Meaghan Grace Hinkis danced really well but I don't think she quite matched his energy but that said I still loved it.

 

I have to agree with the majority re Strapless...it really isn't great.  The positives for me were that I found the story to be interesting.  I was interested in how this piece of art inspired Wheeldon into creating this piece and was intrigued as to how it would pan out.  I love the way Osipova dances so she can make some things work for me that might not with another dancer so I did really enjoy her solos.  I enjoyed Edward Watson in it and the set was really lovey.  The negatives for me were I think quite a lot of it was actually just plain bad.  Some of the lifts were horrible.  The music was really not good at all which didn't help matters but really I just thought the choreography was very poor in places and just didn't work.  

 

I didn't really enjoy Symphonic Dances which is a shame.  I thought everyone was dancing on absolute top form- there was no real stand out for me I just thought everyone was brilliant.  I quite like the music and some of the choreography worked really well.  There was some great stuff for the corps and some exciting choreography for the men to dance.  The only stuff I really didn't like was the running around and the exercise related dance moves!  But there was a lot of good stuff in it.  Unfortunately it didn't really make me feel anything and I just kept thinking about how well everyone was dancing instead of being swept away in it.  I also caught myself thinking about what I was going to cook when I got home so obviously I was not as engaged as I wanted to be :lol:  So overall, great dancing which just left me cold unfortunately.  It got a great reaction and Laura Morena got a massive cheer so that was nice.  

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On 24 May 2017 at 08:27, Mary said:

Agree with every word, standingticket. I will always remember seeing Muntagirov and McRae side by side. Hope it isn't the last time though.

 

I queried the 'squashed' moment of the ending on first night- does anyone have any idea what is the significance of this bizarre ending? I can't say it added to the piece in my eyes.

In fact, as the piece was homage to Zenaida, very richly deserved, I thought it was a very unfortunate choice!

 

 

 

So I'm not sure she's always meant to be squashed.. on the 23rd, the final light shone on her just as she did a triumphant, arms-open yearning toward the sky.. on the 25th, she was face down on the floor when the light hit.

 

Actually, we asked her at the stage door what the piece meant (because I likewise really didn't understand the last moment, nor the whole third segment).. and she didn't seem to be sure either :P

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Still intrigued by the ending of Symphonic Dances, particularly as there seem to have been two versions. I have only seen one performance, which was the'squashed' version. But just a small thought, as I sit listening to more Rachmaninov, is his use of the Dies Irae in the last movement any hint as to what was meant? And all those doom laden  bells which permeate so much of his music, including the Dances, could point to.something. 

 

 

 

 

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I'm annoyed at the whole third movement really, not just the ending.. It seems to me like the first two movements were about her ability to defy gender norms and lead the pack.. that is, until the right man comes along to 'subdue' her. 

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2 hours ago, ninamargaret said:

Still intrigued by the ending of Symphonic Dances, particularly as there seem to have been two versions. I have only seen one performance, which was the'squashed' version. But just a small thought, as I sit listening to more Rachmaninov, is his use of the Dies Irae in the last movement any hint as to what was meant? And all those doom laden  bells which permeate so much of his music, including the Dances, could point to.something. 

 

 

According to the sleeve notes of my CD, the third movement should be regarded as a  kind of danse macabre and Rachmaninov quotes from earlier works including the Vesper Mass and his cantata The Bells.  Symphonic Dances was a late work and is supposed to contain an autobiographical element.  The piece was actually supposed to be reworked into a ballet, but  the death of Mikhail Fokine caused the idea to be shelved.  Perhaps the choreographer knows about the back story or perhaps not.

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20 minutes ago, lyn said:

I'm annoyed at the whole third movement really, not just the ending.. It seems to me like the first two movements were about her ability to defy gender norms and lead the pack.. that is, until the right man comes along to 'subdue' her. 

 

I suppose the idea was to show her in all the possible aspects of her, or a woman's, persona. The problem being that some of the depictions, both in terms of concept and also choreographically, seemed to me to be so horribly clichéd and simplistic. Glamour = swirly dress and red lights; strength = haughtiness or adopting male-style clothing; etc. I think perhaps that I reacted so strongly against the design and lighting from the first moment that it coloured (so to speak) the rest of my view of the work. But since I appear to be the only living person to have disliked it so intensely, I must give it another go when it returns (which no doubt it will).

 

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18 minutes ago, bridiem said:

 

I suppose the idea was to show her in all the possible aspects of her, or a woman's, persona. The problem being that some of the depictions, both in terms of concept and also choreographically, seemed to me to be so horribly clichéd and simplistic. Glamour = swirly dress and red lights; strength = haughtiness or adopting male-style clothing; etc. I think perhaps that I reacted so strongly against the design and lighting from the first moment that it coloured (so to speak) the rest of my view of the work. But since I appear to be the only living person to have disliked it so intensely, I must give it another go when it returns (which no doubt it will).

 

 

Actually, I will say the costume trope is one thing I think Scarlett handled amazingly, but I may have been reading too much into it. I loved that the choreography for 'skirt swishing' was almost exactly the same in the 1st/2nd movements, with or without the skirt. I'm referring to the part in both movements where she stands in the middle of the circle, in a second plié, waving her arms about her. It seemed to mean that she had that power, regardless of what she was wearing. Another bit I absolutely loved was when the men came around her waist to form a kind of human skirt in the 2nd movement, somehow showing that they fed into the myth of its power.

 

Personally I think the 1st and 2nd movements together made some of the most pointed and meaningful choreography I've ever seen. It's just that darned 3rd one.. Someone above mentioned (or was it a review?) that it just feels like he lost energy and inspiration halfway through, and I have to concur...

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Symphonic Dances seemed to me to be focused more on the passage of time than on views of gender roles. The dominant theme seemed the passing of power and creativity from one generation to the next. The work appears to suggest the passing of decades through parts of a century, symbolised in part by images from dance history, Fuller through to McGregor. Seen from above, the second movement's reflected image of the whirling warriors' skirts suggested WWI poppies. The third movement's final 'squashing' moment evoked Gloria and seemed to be a farewell to an epoch, a century on, as a new generation flees to an unknown future.

 

I've not read the programme notes and have no idea what Scarlett intends. This is just a personal response to some of the powerful choreographic images created here.

 

But I'm sad that I missed the alternative 'triumphant' squashing!

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I have the feeling that a lot of people were wrong footed by the new Scarlett ballet expecting it to be more obviously a valedictory piece than it in fact proves to be. I know that I came away fro the first performance somewhat unsure as to what I thought about it. But to begin at the beginning.

 

Vertiginous Thrill's first cast led by Nunez and Muntagirov, with McRae,Takada and Stix-Brunell was quite extraordinary in the energy they brought to their performance of the piece  which looked like amphetamine fueled  Balanchine. Even with this energy level Muntagirov  somehow managed to give the audience a display of effortless elegance.The second cast of  Menizabal, Sambe, Hay,Hayward and Stix-Brunell  were less frenetic and slightly more relaxed in performance than the first cast had been. Mendizabal fell during the first performance and perhaps that partially explains the more muted account which she gave of the choreography Hayward and Stix-Brunell  were a better balanced pairing than we saw on the first night but then they had rehearsed together throughout the preparation process while injury had led to last minute changes to the first cast. In the second cast it was James Hay dancing in the McRae role who  provided the cool elegant performance.

 

The next ballet Tarantella,is one of those ephemeral gala pieces which prove to have unanticipated staying power. The first night cast of Hayward and Sambe both gave extraordinary accounts of the choreography which is a test of both technique and stamina. Their performances were full of panache and character and were both exciting and amusing. At the second performance Tarantella was performed by Hinkis and Campbell. Theirs was a more subdued account of the choreography with far less character and brio to it than we had seen on the first night. It is the sort of choreography which, I think, requires the dancer to take risks rather than playing safe and Hinkis played it too carefully and far too safely for what was intended to be a exuberant display piece. It is not reproducing the steps which you have learned which matters in this piece it is what you do with them in performance which counts..The third cast was probably the most intriguing as the dancers cast in it were Naghdi and Zucchetti. Now while there was no doubt that this piece was just the thing that would suit Zucchetti down to the ground the question was how well it would suit Naghdi who has described herself as an allegro dancer by nature ? This third cast were even sharper than the first night one and they made it look even more like a tongue in cheek tribute to Bournonville than Sambe and Hayward had made it. Both the first and third casts delivered hugely enjoyable accounts of the piece which made what came next all the more disappointing.

 

There is nothing wrong with devising a mixed bill which displays the range of subject matter and mood which ballet can encompass. In fact I am all in favour of such mixed bills and would much rather have a mixture of works which show ballets's range as an evening at the ballet than a more narrowly themed approach. But the essential element in an evening adopting the wide range approach is that all its component parts are worth staging. Having sent the audience out of the auditorium to boost the bar receipts feeling that all is well with the company, its dancers and ballet in general management decided, in its wisdom, that we should return after the interval to see the revised version of Strapless.

 

 I struggle to say anything positive about Strapless and strangely with six minutes or so cut from it it feels longer than it did when it was premiered. Wheeldon is not the only choreographer who does not seem to possess an "unerring sense of what ballet can and can not do" but having discovered that the work was a failure. It would have been kinder to both the dancers and the audience if management had decided to bury it quietly rather than serve it up for a second time. But it is a co-production and presumably intended as a vehicle for the company's Russian star and perhaps it is this which necessitated its revival.

 

The problem is not simply Wheeldon's  choice of a  subject which it would be difficult enough to turn into a successful film treatment where you have both movement and speech to work with,let alone a ballet where you only have choreographed movement. The ballet also reveals what Wheeldon can and cannot do as a choreographer at this stage of his career. Even in its revised form Strapless seems strangely unfocused. Unfortunately Wheeldon seems to have taken MacMillan as his choreographic model  for the cafe scene. Perhaps someone should have told him that MacMillan was notorious for producing swathes of boring repetitive dancing for the corps. Unfortunately  Wheeldon does not seem to have mastered the pas de deux as a means of expressing character and emotion .The cafe scene is full of unnecessary local colour and jolly dances which look like the sort of thing you might expect to see in a west end musical including an exceptionally demure can can. As I sat there I have to confess that my attention began to wander I began to think about the sort of rumbustious characterful choreography that Massine conjured up for such scenes of local colour. I even began to wonder what de Valois Bar aux Folies Bergeres might have looked like? It also included historical characters but I bet they had considerably more theatrical life to them than the historical characters as bit players in this ballet where the dancers labour in vain to breathe life into a balletic corpse.

 

While the choice of subject is a significant factor in the ballet's weakness it is not the only problem. it seems to me that Wheeldon's choreographic language  which works well for abstract ballets and can be pressed into service for narrative works where the subject matter and his dance language are a good fit does not work that well as an expression of emotion and mood. The erotic encounters in this work feel like dull academic choreographic exercises rather than movement expressing overwhelming desire.  All choreographers are "snappers up of unconsidered trifles". They all borrow from each other and from the past.Both Ashton and  MacMillan knew how to make pas de deux which are effective in both choreographic and narrative terms. I doubt that theirs is a secret which died with them. Is Wheeldon's problem one of lack of exposure to effective narrative works in performance because he spent too long working in a company which stages abstract ballets rather than narrative ones or an inherent inability to create expressive choreography? Only time will tell whether Wheeldon's  dance vocabulary will ever extend to being able to express mood and emotion through the subtle combination of natural body language and the codified movement of the ecole de danse which Ashton,Tudor and MacMillan were all able to bring to their narrative works. But as I recently came across a critic writing about Ashton's 1936 ballet Nocturne as evidence of the choreographer's  development from creating glib, smart but essentially superficial choreography with great facility to real art,it may be a trifle too soon to reject Wheeldon and all his works.

 

 I don't know what Symphonic Dances is about. Scarlett was not that forthcoming at the Insight interview he gave.He said that it is It  is about whatever we want to think it is about. The one thing he did say was that because of the current technical strength and talent of the men in the company he felt he had to give them some interesting choreography to dance. Of course not every section of the work is at the same level and I have no idea what the sporting and sprinting poses are intended to convey.But even if Yanowsky is unable to throw any light on what the ballet is about it works well as a display piece for her.Although it looks rather different on Morera it works for her as well. It gives the men some meaty choreography to dance and the company is able to field two casts for the corps. Perhaps all that we should expect of a new ballet is that it is theatrically effective; it shows  its dancers off to best advantage; it bears repeat viewing and it is not wholly dependent on its original cast for its effectiveness. Personally I think that this new ballet fulfills all those requirements. 

 

It opens with the lead dancer, Yanowsky, as a figure of authority dominating the stage and an object of adoration, this is followed by a section in which she is gradually drawn in to dance with the corps and in the final section she is partnered by one of the men, Reece Clarke. I have no idea what the final image is meant to convey. Morera in the second cast does not physically dominate the stage in the way that Yanowsky does but she is equally effective in her own way , and her partner in the final section,Matthew Ball is good as well. It looks like a ballet that will bear repeated viewing and new casts. Perhaps that is enough.Only time will tell whether it is a piece which survives for a few seasons or whether it has real staying power.

Edited by FLOSS
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One thing I've been mulling over since seeing this mixed bill is the relative talent of Wheeldon and Scarlett. Even adjusting (a lot!) for Strapless being far from Wheeldon's strongest work and Symphonic Dances far from Scarlett's weakest, I was left thinking that Scarlett rather than Wheeldon is "the real deal". I just feel that there's more to his choreography.

 

Or is it just me?

Edited by Lizbie1
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One thing the 

7 hours ago, Lizbie1 said:

One thing I've been mulling over since seeing this mixed bill is the relative talent of Wheeldon and Scarlett. Even adjusting (a lot!) for Strapless being far from Wheeldon's strongest work and Symphonic Dances far from Scarlett's weakest, I was left thinking that Scarlett rather than Wheeldon is "the real deal". I just feel that there's more to his choreography.

 

Or is it just me?

 

One thing the evening convinced me of was how much Scarlett continues to experiment, while Wheeldon seems to apply the same style in different contexts. Somehow nothing Scarlett has done falls into a real 'pattern' for me, and I'm very admiring of that. Maybe it's just a matter of age.

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A good last outing for the quad bill tonight with 3 special reasons to rejoice:

 

- Yasmine Nagdhi amazing in Tarantella alongside a buoyant Valentino  Zuchetti

- the farewell performance of Strapless (hopefully)

- Laura Morera stunning in Symphonic Dances

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6 minutes ago, capybara said:

A good last outing for the quad bill tonight with 3 special reasons to rejoice:

 

- Yasmine Nagdhi amazing in Tarantella alongside a buoyant Valentino  Zuchetti

- the farewell performance of Strapless (hopefully)

- Laura Morera stunning in Symphonic Dances

Do hope you're right about Strapless. The most entertaining thing about it when I saw it was a couple of scenery malfunctions and the sight of a black clad stage hand doing some furtive manhandling to right it!

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1 hour ago, capybara said:

A good last outing for the quad bill tonight with 3 special reasons to rejoice:

 

- Yasmine Nagdhi amazing in Tarantella alongside a buoyant Valentino  Zuchetti

- the farewell performance of Strapless (hopefully)

- Laura Morera stunning in Symphonic Dances

I agree, Capybara.  More thoughts from me tomorrow. This was my only viewing of this mixed bill and I found it a mixed bag.

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