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ENB: Akram Khan's Giselle, Autumn 2017


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55 minutes ago, aileen said:

In this run I have picked up on a number of things which I did not notice in the last one. First, I think that Giselle is an activist or a kind of shop steward or at least a spokesperson for her community and that she is killed because she is a troublemaker as well as because of her invonvenient relationship with Albrecht. I noticed far more references in the score to the sounds of a factory and looms moving backwards and forwards. Similarly, I realised how much some of the movement of the corps referred to the repetitive movement of a loom being operated. My friend thought that the water / sea sounds could refer to the water used to power the old water mills. Perhaps everyone else had picked up on all these things but they really became apparent to me this time round.

 

I didn't pick up on any of these things! In fact, the only flaw of the production for me is that the context for the characters and the development of the 'story' are completely unclear. I don't mind that too much, since the bones of the interplay are clear and that's what matters. But for me the whole migrants/factory etc context might as well not be there; what I see are people who are in some way downtrodden (but not broken in spirit), and a privileged class who are not just dismissive of but malevolent towards the downtrodden (which differs from the original Giselle, where the court is not ill disposed towards the peasants, possibly because they pose no threat to them). Hilarion, Albrecht and Giselle somehow cross the line (wall) between the two worlds, with shattering consequences.

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On 24/09/2017 at 08:56, capybara said:

The dancing from Hernandez, in particular, was both beautiful and riven with an emotional depth I hadn’t seen from him before.

 

A little late to the party, but I wholeheartedly agree.  I saw Hernandez as Romeo at Festival Hall and as much as I admired his technique, he didn't really touch me emotionally in R&J.   As Albrecht in this production he was outstanding and contributed hugely to the emotional reaction the whole performance gave me.  Oscar Chacon was fantastic; such stage presence.  

 

Daughter and I saw the Thursday evening performance as we had been lucky enough to nab 2 of 3 rear stalls tickets that had popped up a few months ago.  I was worried that being relatively far back under the dress circle would make us feel detached, but the whole theatre seemed to fall under a spell as the performance began, and as one body, the audience seemed to hold its breath.  I felt utterly hypnotised, and everything from the score, to the lighting, to the revolving wall added to my feeling of being right there in the story.  It was extraordinary. 

 

I had a couple of questions which I hope people who have seen the production several times may know.  Was Giselle pregnant? She seemed to put Albrecht's hand on her abdomen several times, and she was pushing the other outcasts down by pressing on their stomachs.  Was that significant? 

 

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I think this came up last time Anna C and I am desperately trying to think back to the Masterclass and talk by Akram Khan as a friend of ENB before the premiere last year and I think .....but cannot be absolutely sure ....that yes she is pregnant ...I'm sure this came up but it's a year ago now and when you attend events like this with such a new version of the ballet etc there was so much to take in and I remember being struck by Stina demonstrating the "new" Wilis and how effective that was and the beautiful pas de deux between Giselle and Albrecht that I think you are talking about!!  I'm about 80 per cent sure he said she was pregnant but am happy if someone were to point out my memory is inaccurate.

When I saw it last year it stayed with me for days afterwards a real.masterpiece by Khan.

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8 minutes ago, Don Q Fan said:

^^ Exactly my thought, or Chacon for that matter. So far Act 1 was really good except the music is being amplified and is FAR TOO LOUD👿

 

Sorry I haven’t seen you.  I think the loudness of the music suits the piece!

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Nothing against Cirio, but I think that Chacon, who danced the role when it was first created, should have been filmed when company dancer Corrales became unavailable. Sarahushi is very good but can't quite match Chacon in menace and stage presence. 

 

Sorry to hear that Corrales is injured. He's not the only one, sadly, and it's still early in the season. 

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I agree with you Aileen.  

 

Tonight I was completely overwhelmed by the utterly magnificent performance we were treated to.  Tamara Rojo, James Streeter, Stina Quagebeur, Jeffrey Cirio and Begona Cao led an exceptional performance.

 

The audience in the stalls (can't comment on the circle) obviously agreed with me as most leapt spontaneously to their feet during the curtain calls.

 

It was lovely meeting up with Petunia too.

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16 hours ago, Jan McNulty said:

 

The audience in the stalls (can't comment on the circle) obviously agreed with me as most leapt spontaneously to their feet during the curtain calls.

 

The circle were standing also Jan, but weren't as quick to rise as those in the stalls.

 

It was a truly memorable evening as several of you have said already. I looked out for any familiar faces, but sadly missed all of you!

 

We were really excited to see the film crew in attendance when we arrived. However, having seen Oscar Chacon at the dress rehearsal that afternoon, I felt it a real pity that he wasn't given the role of Hilarion for the filming. He was so menacing and incredibly flexible....still not Cesar Corrales, but not far off. Cirio  comes across as mean, but Chacon's character is definitely more intimidating. 

 

It was a fantastic trip to Liverpool and now wish I'd booked for more performances and stayed longer. 

 

 

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Oh sorry I missed you too mummykool...glad you enjoyed Liverpool so much. Totally agree about Chacon I loved him last year as Hilarion he had that gang/Latino air to his portrayal.

I asked the dancers about the filming but they don't know if it's for a DVD release or just the ENB archive...seemed to say the powers that be keep it to themselves. I have tweeted ENB but no reply so far. 

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Can't add much to was was already said... this was my second Giselle and my first with Rojo, she's very different from AC but what an experience! I had hoped to see Corrales again, I found Cirio not as strong a presence, he was very good but I felt not quite dangerous and threatening enough.

I think the company as a whole was so impressing, they move as one body... and they don't look at all like Ballet Dancers who "master" contemporary dance but it looks completely natural.

I just deeply admire them.

And it was lovely to discover Liverpool and to meet Janet!

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Nice to meet you too, Cathy, and LTD.

 

I believe that the PDD does begin with a solo violin and a solo cello. I read that the haunting music at the end of that scene uses a Greek lure, and not a flute as I had originally thought.

 

A great performance this afternoon. I absolutely love Hugo Chacon in the Hilarion role: great dancing, acting (lots of interesting little touches) and incredible charisma.

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Same, Living the Dream. Glad you enjoyed it. Aileen thanks for the tip about the instruments, especially that mysterious one - I was craning my neck from the lower circle to try to see where it was coming from/what it was. Such an interesting sound. Greek lure - off to look it up and hunt down some music with it in!

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