MRR

Nadon is that rare talent who not only lives up to the hype, but stirs the imagination by conjuring images of ballets she has yet to dance. Her performance of Barocco was like a waterfall: sensitive and luxuriant, taking the audience on a dream. Her trust in herself, her partner, the music and Mr. B is remarkable for an artist so young. Lush and expansive, her off-balance lunges are something to behold, leaning entirely off her leg in the adagio before setting her foot down. The gradual descent of her working leg after a long series of turns, reaching for her partner's outstretched hand, showed in one sequence her mystery and beauty. She is also adept at allegro, and while evidently (and forgivably) taxed by the ending steps, she gave a master class in carving the space with those long limbs. A shame she and Balanchine never got to work together. Whenever she dances Diamonds, I'm there. Isabella Lafreniere as the second violin is somewhat straightforward and perfunctory next to Nadon, but she is athletic with great force, shown best in her a soaring diagonal of grand jetes. Gilbert Bolden was mostly stalwart in the pas de deux, flagging just a touch in that exhausting series of lifts. It was great to see veteran Daniel Ulbricht dance up a storm in the title-role of Prodigal Son. His opening solo was buoyant, ferocious, and emphatic, bolting all over the stage. He was perhaps dramatically less impactful in the final scenes as it is difficult to shed that Olympian persona, but no denying a terrific performance. Miriam Miller is statuesque as the Siren with endless arms and legs. As with her Dark Angel in Serenade the previous night, her presence doesn't reach beyond the footlights, but I sense she hasn't yet come into her prime. Bizet finished with a top-down roster. Tiler Peck and Chun Wai Chan were my favorite couple, somewhat of a surprise as I've not always warmed to Tiler's dancing on video. This ballet is excellent for her, especially viewing from third ring which gives full appreciation to the vastness of her dancing. No step is insignificant, nor is it effortful, tossing off the technical challenges with ease, sparkle, and grandness of scale. Her series of turns down the center was tremendous. Chan is ardent with great beats, excellent lines, a speedy if slightly flawed series of triple pirouettes, and attentive partnering. Unity Phelan lacks some of the majesty and grandeur for second movement, and her extension in a la seconde and nose-to-knee penchee could be higher. Nonetheless she is elegant and capable: the way she swirled her torso into every fouette arabesque was lovely, and her arabesque is among the most disciplined in the company. Alec Knight was a strong partner but could have dared more on the trust falls. Baily Jones and Cainan Weber (third) suffered a miscue early where the one-handed turn to arabesque pitched far forward with Baily's legs flying out from underneath her. No big deal as they did two more without incident, and their ballon was well utilized here. Emilie Gerrity was secure and articulate in fourth movement, partnered by the excellent Peter Walker. The previous Saturday evening Sara Mearns led Serenade with plenty of fantasy and drama as the Waltz Girl. Her allegro got sticky in a couple of places and overall I probably prefer her Dark Angel, but her resignation to her fate before being held aloft was riveting. Indiana Woodward was airborne, spirited, and flowing in Russian, the performance of the night. Megan Fairchild began Theme and Variations without obvious magic, but her precision was uncanny in the second solo and her confidence only grew to the finale. Anthony Huxley, textbook in the first solo, unraveled somewhat in the treacherous double tour series (popping the last one to a single), catching Megan's tutu often in the pas de deux and barely holding onto the final shoulder sit. The company gave a spirited polonaise for what is one of the most uplifting finales in all of ballet. The one unfortunate exception was Megan LeCrone in the demis, dancing as if she were marking the choreography.

I don't know exact dimensions, but the ROH stage looks to have considerably less depth than the Bolshoi. But more importantly, the ROH stage is not raked. Many dancers who aren't accustomed to performing on a rake have commented on how much of an adjustment it is, particularly for balances and turns, that I would imagine the reverse is also true. Zakharova and Smirnova can certainly get through a set of 32 fouettes, if not every time, but neither is noted as an especially strong turner.

The Russian Dance from the Bolshoi Swan Lake:

There are subtitles if you click the closed caption feature of the video.

But how much precedence is there, really? Hamilton doesn't even get a public performance of Manon.

I would love to see Osipova and Corrales in Balcony PDD (not to mention the full R&J). Ondine is not one of my favorite ballets, but Hayward dancing the title-role would justify a revival.

Beautiful review Bruce. SFB is an excellent company whom I hope to see in their home theater someday. I completely agree on Chamber Symphony: a magnificent work and vehicle for a leading male dancer. Robison has never danced better and I'm envious you saw Walsh and Birkkjaer perform it too.

Interesting, based their June 1st performance I didn't find Ball's acting diminished from Naghdi's at all. If anything I thought he created slightly more arc in the character than Naghdi with hers, but more important was the chemistry between them; without it the individual performances are meaningless. They had such a tender connection as a couple which made the story come alive. Of course, two performances even from the same cast can be different, so I'm not necessarily disagreeing with anybody here. I would also like to add Ball had some of the strongest partnering I've ever seen in the ballet. Each lift in balcony was effortless and he even got Naghdi up in full presage during the last two lifts (where she runs toward him) when most Romeos only get her up to chest height. I found a lot to admire in his Romeo and look forward to seeing him and Naghdi again when this cinemacast comes to the U.S.

This captures what I felt during the June 1st double header of R&J. Naghdi and Osipova could not have been more different Juliets but I found both their approaches memorable and valid. Naghdi was luminous and gave an especially beautiful account of Act I while Osipova's Act III was a tour de force. Not that I'm necessarily comparing Osipova to Lynn Seymour, whose Juliet I never saw, but I feel very fortunate to have witnessed both those performances on the same day, which showcased the different ways Juliet can be interpreted. I think Hayward's Juliet would be divine, based on watching her Vera in "Month in the Country." Certainly all the reviews here suggest this.

Beatriz Stix-Brunell? She danced Lead Harlot in the first Naghdi/Ball performance (and was superb).

Sorry, I forgot to answer this earlier. The only difference in the step was that Hallberg's assemble had a single (360 degree) revolution while Ball/Tissi's rotated twice. The preparation, air position, and landing of the step were all the same, with Ball/Tissi (and presumably other Romeos) rotating an extra turn in the air. Can't recall if Zuchetti's Mercutio solo was any different than Sambe's though it is possible. Sambe's technique and musicality were much cleaner and clearer, even while his pirouettes attempted more revolutions than Zuchetti's did. However, in the mandolin dance Saturday evening, Benjamin Ella added a barrel "540" jump which was not done by the other mandolin soloists (Sambe and Sissens).

Saw the "new" ROH for the first time two weeks ago and wasn't a fan. The new space makes the ROH feel like two different buildings: a Marriott juxtaposed with a beautiful opera house. Not sure what I feel about letting the public in at all hours of the day. It would be fairly easy for someone to attend a performance having not purchased a ticket (provided it isn't sold out, as the mixed rep wasn't last Tuesday/Wednesday), particularly after first interval when ushers aren't vigilant. I was also hoping the new space would provide an expanded gift shop or a real box office, but to no avail (supposedly the box office is moving?) Overall the new space feels perfunctory, not a good thing when part of one of the leading opera houses in the world. Personally I don't mind a bit of opulence, especially having just toured the beautiful Staatsoper Berlin. Covent Garden is one of my favorite theaters, but the open-up doesn't do it justice.

Also attended last Wednesday: Mendizabal as Firebird made a strong impression in the opening solo with big, twitching eyes and an exaggerated epaulement. Her arms were fluttering and birdlike, but her positions went unfinished in the pas and she lacked the authority of Naghdi on opening night, particularly in the scene with Koschei. Nonetheless Firebird is one of her better roles and one to which she is suited. Much to my surprise Kish made a stronger impression than Watson as Prince Ivan. Perhaps his added stature helped visualize the story more, but I found him utterly convincing in his fascination with the Firebird, love for the Tsarevna, and fear of Koschei. Alas, in his most climactic part of the ballet he succumbed to the egg, which decided to split in half well before he was supposed to drop it. Perhaps his days as a prince in the classics are gone but I second the proposal for him as a permanent Character Artist: he has a natural, unforced stage presence and remains a fine partner. Claire Calvert normally doesn't do much for me beyond her gloriously arched feet, but she was radiant and romantic as the Tsarevna, and technically strong later in "Symphony in C." A great night for her. Chris Saunders's Koschei was considerably muted compared to Gary Avis the night before. As for Osipova/Hallberg in "Month," I am torn. Technically, Osipova didn't impress to the extent of Nunez in the first solo, with the epaulement and precise footwork sort of washed over. There was also some suspension of belief that Osipova's Natalia was much older and wiser than Hallberg's Beliaev: artistically the two seemed on the same plane. However, this was the most introspective and restrained Osipova I've seen, with the sadness and melancholy of Natalia completely captured especially in her closing walk downstage. Nunez was more a Grande Dame of the household; Osipova a lost soul. I found both approaches fascinating, with Osipova's Natalia becoming more vivid in the days after than immediately in the theater. Hallberg has unmistakable deportment -- he runs onstage as if he were above water -- and the sculptural purity of his work was in a far away league from Ball the night before. Where he suffered in comparison were the security of pirouettes, his partnering (in particular with Vera and Katia, with whom he seemed to forget a couple steps), and his character's sense of naivety. Throughout the evening I didn't see him so much as Beliaev but as David Hallberg. He did achieve a kind of cosmic connection with Osipova in the final pas, but the Nunez/Ball partnership rang truer to the story for me, as did their interactions among the ensemble. Meagan Grace Hinkis as Vera and Luca Acri as Kolia were good if not to the level of their first cast counterparts. In certain ways "Symphony in C" looked more sure-footed the second night. With her diamond cut positions and lines, Fumi Kaneko is ideally cast for first movement and danced even freer Wednesday, reveling in the nuances of Bizet and Balanchine. I'm very envious of those who will see her Aurora. Nunez had a rather extravagant, dramatic presentation to second movement with Hirano as her stalwart partner. Her abandonment, complete security of technique, and ability to make every step fresh and alive were impressive as was her final balance in arabesque which luxuriated forever. As I mentioned upthread, Campbell seemed more subtle in third movement, and the last partnered arabesque with Choe (faulty on opening night) was perfect Wednesday. Naghdi was rock-solid in fourth movement with no problems navigating the numerous pirouettes which were a bit of a white-knuckle ride with Hayward. Other mentions: first movement had some luxury casting with Cesar Corrales impressive for his long arabesque and textbook entrechat six. I would love to see him as first movement principal. Claire Calvert and Beatriz Stix-Brunell were dynamic as the two ladies and Joseph Sissens held his own against the high technical standard of Muntagirov and Corrales. Muntagirov was gallant and impeccable as always.....until fourth movement where he missed an entrance. He is human, after all.

The photos on the ENB Facebook look spectacular. I see it Sunday.

Richard, it was more the manner in which he communicated his thrill of dancing "C" rather than him expressing himself at all. Of course third movement is joyous and I would never suggest the company look sullen during this ballet, just that Campbell (for me) tends, slightly, to "milk" some of his big technical moments in the ballet, and has a somewhat exaggerated way of relating to his partner. I wish I could explain it better but that's how I saw it, and I don't intend these as major criticisms. I know not everyone will agree and am happy for those who enjoyed his performance (in fact, as did I, with a minor reservation).