zxDaveM Posted October 20, 2017 Share Posted October 20, 2017 5 minutes ago, aileen said: So, it sounds as if the casts for all the ballets were the same both evenings. Is that right? The RB dancers were different in Elite, but otherwise, yes 1 Link to comment Share on other sites More sharing options...
RuthE Posted October 20, 2017 Share Posted October 20, 2017 (edited) 2 hours ago, zxDaveM said: The RB dancers were different in Elite, but otherwise, yes From memory: the lead woman was Akane Takada, partnered by Nicol Edmonds The dance for the three ladies was performed by Itziar Mendizabal, Tierney Heap and Elizabeth Harrod. Edited October 20, 2017 by RuthE Link to comment Share on other sites More sharing options...
Scheherezade Posted October 20, 2017 Share Posted October 20, 2017 2 hours ago, BMC said: And I also really liked Hirano in this very much - I find him an interesting dancer in that, being honest, sometimes I don't really notice him at all, sometimes I watch him as an excellent partner and then at other times he displays this fantastically humorous and engaging personality such as in Don Q and Elite when I can't take my eyes off him. I so agree with you, BMC, which makes it hard when booking as you can never be sure which Hirano you will get. 1 Link to comment Share on other sites More sharing options...
capybara Posted October 20, 2017 Share Posted October 20, 2017 I felt that this programme worked well in illustrating some of the many different styles in MacMillan's work. It also showed off the visiting companies to considerable advantage. In terms of quality, the 'honours' appeared very even. Good to see. Led by Momoko Hirata and Tzu-Chao Chou, Concerto got off to a buoyant start. Jenna Roberts was very much the star with a lustrous rendering of the central pas de deux.(with a proud husband watching last night). However, bearing in mind that MacMillan developed this ballet in order to improve the classical technique of his German company, I did wonder slightly about the cleanliness of movement and coordination of the supporters dressed in orange who appear in all three movements. The third movement looks fiendishly difficult and the Company carried it off with aplomb. So nice to see this wonderful ballet back on the ROH stage (although, of course, the RBS included in their last summer show). Le Baiser de la Fee is, of course, a relatively early MacMillan piece and it was interesting to see many difficult moves which he deployed in later works. The dancing was very assured but I didn't feel that the interpretations told the story. For me, the demanding role of the Fairy needed more other worldly allure and the Young Man bore more or less the same facial expression throughout. I was very taken with the way the houses were superimposed onto the otherwise static set but, although I enjoyed spotting some familiar tunes, the music didn't seem to carry the narrative along. So, after two viewings, this is not a ballet that I will be rushing to see again. Elite Syncopations is a lot of fun and an excellent way to end a collaborative evening. The idea of including guest dancers from ENB, BRB, SB and NB in distinct solos and pas de deux was a brilliant one. Precious Adams (ENB) shone slinkily in the Calliope Rag - nice to see she has garnered many plaudits from the critics. The audience loved The Alaskan Rag (tall woman/small man) duet but I found it slightly overplayed, especially when things really did go wrong at the second performance. Riku Ito (NB) was the energetic, airborne Friday Night soloist. Both Ryoichi Hirano and Nicol Edmonds brought off the main male role really well. But honours for the main woman go to Yasmine Naghdi. Both she and Akane Takada danced beautifully but Yasmine gave the role the sassy substance it requires and remained in character whether dancing or being a bystander. A great start to her career as a Principal - and she wasn't cast originally, of course. So, hats off to Kevin O'Hare for this initiative. Now looking forward to rounds two and three next week. 11 Link to comment Share on other sites More sharing options...
Bruce Wall Posted October 20, 2017 Share Posted October 20, 2017 (edited) Saw both of the inaugural MacMillan celebratory programmes, largely in the hopes that it would offer the chance to get a sense of the current temperature of the visiting Companies. As it was the casts for Concerto and Baiser remained the same for both and the guest segments in Elite remained static as well. That said I am glad I saw it twice. Concerto remains my favourite MacMillan ballet; his music's narrative is so vividly defined through dance and every man (and most crucially woman) respected in the depiction of each step. It is, like the score, a true Celebration. More than fitting on this special occasion. (How I would love to see this on a triple bill with Ratmansky's equally radiant take in etching Shostakovich's tonal rapture.) Agree that Jenna Roberts and Tyrone Singleton were especially fine and, as always, Brandon Lawrence glowed throughout each soloist section. What a lyrically special and vividly musical artist he is. It was interesting to see MacMillan's Basier which I had never seen before (knowing only the Balanchine - which I prefer - and the Corder). I thought Scottish Ballet acquitted themselves well and my enjoyment certainly grew with a repeated viewing. Elite has never been tops of any MacMillan list for me but here proved a wonderful quilt for a celebratory stitch-up. Agree Naghdi earmarked her expected glory ... but then Takada was not exactly chopped liver either ... and I did so adore Edmunds cad with a conscious ... almost as much as I did Leo Dixon's frenetic lead out and Heap's sass ... Hers for me was only really matched by a truly Precious Adams bringing her innate sense of American syncopation not only to those ever prancing feet which seemed destined to pierce our hearts but also to the almost supernatural coordination between the smile of her lips and eyes. All spoke volumes ... and were - in their way - different on each evening. Adams' toy was tailor made for the particular historic mesh of moments she just happened to front. While she made it look seemingly casual this Calliope steamed straight ahead with conviction. There was no constriction in the coagulation of her luscious strut. None whatsoever! T'was unmitigated joy. Edited October 20, 2017 by Bruce Wall 8 Link to comment Share on other sites More sharing options...
Lizbie1 Posted October 20, 2017 Share Posted October 20, 2017 I've nothing really to add except that I'm not sure it's wise to cast James Hay in the Hothouse Rag. Leaving aside his jumping, the clarity and sharpness of his movement show the others up without his even trying. 1 Link to comment Share on other sites More sharing options...
zxDaveM Posted October 20, 2017 Share Posted October 20, 2017 here are a few pics from the recent triple bill: Concerto (Birmingham Royal Ballet): Delia Matthews © Dave Morgan. Courtesy of DanceTabs / Flickr Le Baiser de la Fee (Scottish Ballet): Andrew Peasgood, Constance Devernay © Dave Morgan. Courtesy of DanceTabs / Flickr Elite Syncopations (various): Yasmine Naghdi, Ryoichi Hirano (RB) © Dave Morgan. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: MacMillan triple bill - mixed companies Courtesy of DanceTabs / Flickr By kind Permission of The Royal Opera House 7 Link to comment Share on other sites More sharing options...
alison Posted October 20, 2017 Author Share Posted October 20, 2017 Excellent photo of Delia, Dave. I suspected that Ryo was doing that role, which is the one they've announced casting for already next year, isn't it? Which means that we don't get Ed Watson doing it - again I've only ever seen him doing it in the gala programme for the Queen's (?)Golden Jubilee, and thought he was excellent in it, and had always hoped to see him do the whole thing 1 Link to comment Share on other sites More sharing options...
Mummykool Posted October 20, 2017 Share Posted October 20, 2017 7 hours ago, Lizbie1 said: I've nothing really to add except that I'm not sure it's wise to cast James Hay in the Hothouse Rag. Leaving aside his jumping, the clarity and sharpness of his movement show the others up without his even trying. His quality certainly shone through when we saw him on the first performance. I thought he was wonderful...really into his character as well as the dancing. I felt quite cheated that his solo was performed by one of the 'guests'. Link to comment Share on other sites More sharing options...
alison Posted October 20, 2017 Author Share Posted October 20, 2017 34 minutes ago, Mummykool said: I thought he was wonderful...really into his character as well as the dancing. Isn't he always? 1 Link to comment Share on other sites More sharing options...
capybara Posted October 25, 2017 Share Posted October 25, 2017 7 hours ago, Sim said: Indeed it was.....and accompanied by a first-class performance from Erika Takahashi! I felt that 'Song' transferred to the ROH stage really well with a beautifully nuanced performance from Erina Takahashi. Unfortunately, Jeffrey Cirio's diminutive stature meant for me that The Messenger of Death did not have the feeling of being 'ever present' which the role requires. The very well-coordinated corps had clearly benefited from getting 14 performances in the regions under their belts but the quality of movement from Ken Saruhashi, Erik Woolhouse, Giorgio Garrett, and Precious Adams again caught one's eye. The soloist pieces from Senri Kou, Tiffany Hedman and Aitor Arrieta in the 3rd and 4th Songs shone. And a big WOW to the singers, orchestra and Gavin Sutherland. 3 Link to comment Share on other sites More sharing options...
Bruce Posted October 25, 2017 Share Posted October 25, 2017 Judas Tree and ENB Song of the Earth Hope I'm in the right place - I think Judas Tree and ENB Song have been discussed on separate threads - but they were both on stage together last night so assume they are discussed here... Just wanted to say how much I admired the Judas Tree revival - it's a hell of a piece that makes you think about the base instincts that hover around us humans but rarely fully surface. MacMillan's movement is chillingly graphic and underpinned at every turn by Brian Elias' score. It still feels fresh - years ahead of its time and for me something of a riposte to those still finding their dramatic feet on the dance stage. I wish somebody else would commission Brian Elias. Not easy watching but it makes you ponder at length. I thought Cuthbertson really rose to the occasion as the woman and Watson is a peerless friend. Soares, I think, can did deeper and be more terrifying. Reece Clark, as the second friend, seemed rather out of it. I love the end of Song of the Earth... but not much else. German singing/Lieder does nothing but depress me. Philistines R Us I know! That said Erina Takahashi looked in command of what she was about. 3 Link to comment Share on other sites More sharing options...
BMC Posted October 25, 2017 Share Posted October 25, 2017 I found this a very interesting double bill and, as Bruce says, Judas Tree does really make you think about those (our?) dark instincts. I can't say I enjoy this ballet but I have always admired it and never felt I wanted to skip it, as I do occasionally with other pieces. I hesitate to talk of seeing original casts as sometimes doing so can have a bit of a one-upmanship feel but I do think the Foreman is one of those parts that is forever Irek. He was such a unique dancer and it is very hard not to see him in some of those huge jumps (which don't have the same impact done by others) and to remember that incredible menacing stage presence. Thought Lauren was very good. As for Song of the Earth, I either find myself bored stiff or mesmerised - often with no rational explanation as to why. I thought last night's performance seemed quite wobbly in places and agree that the Messenger of Death didn't have that omnipresent feel but nevertheless was riveted throughout with a definite lump in the throat at the end. Erina just wonderful (in my opinion). 5 Link to comment Share on other sites More sharing options...
Sim Posted October 25, 2017 Share Posted October 25, 2017 I also found last night a mixed bag. I remember how The Judas Tree shocked when it first came out. Each time it's come around, I've been less and less shocked, and more and more bored. Some of the choreography is vintage MacMillan, especially the pdd, but on the whole it just doesn't do anything for me anymore. Last night I found it quite bland, actually. I didn't feel that pent-up, explosive sexual rage, frustration and jealousy from the men; you should really feel how resentful they are towards the woman, and thus understand how they can so quickly turn so violent against her. This requires a huge emotional and technical commitment from the dancers, especially the woman. Lauren Cuthbertson gave everything, but I find her too much of an English rose to be vampy or seductive enough for this role. Her dancing was, as always, superlative, and for me that made it worth watching. Ed Watson looked tired, and Thiago Soares was very good; I have my reservations about him but he often does it for me in the MacMillan ballets. He is my favourite Rudolf, and I also loved him in Different Drummer, amongst others. Reece Clark was lovely to watch, and I couldn't take my eyes of David Yudes, especially when he jumped! However, this just didn't catch fire for me. But as I said, maybe it's just because I'm not shocked by it anymore; I must be too jaded. As BMC said, I always waver between bored and thrilled by Song, and last night I was tilting towards thrilled, but not quite there. Much to admire, especially Erina Takahashi's deeply emotional performance. I also thought Isaac Hernandez was very effective, but I too was saying last night that The Messenger of Death has to have a big stage presence, be ominipresent and menacing. He needs to tower, both literally and figuratively, over the proceedings, otherwise it just doesn't work for me. It looked as if the other two could just swat him away, which we all know we can't do once Death sends the messenger for you. Having said this, I thought ENB made a very good showing of this most difficult piece (and yes, there were a few wobbly bits), and with the wonderful Gavin Sutherland conducting and the two excellent singers who brought real emotional depth to the music, I think Mr MacMillan, for whom Death's messenger came way too soon, would be happy with this performance. 3 Link to comment Share on other sites More sharing options...
capybara Posted October 25, 2017 Share Posted October 25, 2017 Your thoughts on Judas Tree mirror mine exactly, Sim. I was rather bored and came to the conclusion that Irek Mukhamedov's transcendent stage presence must have swayed my judgement all those years ago. I felt that the men (a great mix of RB ranks and a terrific band of dancers) mostly looked more like people a girl's mother would want her to marry than the dodgy lot they were supposed to be. 3 Link to comment Share on other sites More sharing options...
fromthebalcony Posted October 25, 2017 Share Posted October 25, 2017 Was thrilled to be in London on business. Knowing ahead of time, I was able to get a ticket to last evening's performance. Having never seen either of these ballets and very little MacMillan for that matter, I was extremely excited. For me, The Judas Tree was shocking and uncomfortable. The dancing was excellent. I have seen Ms. Cuthbertson at our Vail Festival in the US, and I was happy to see her in such a role. Still, it was difficult to watch. Reece Clark was a standout to me - just beautiful on stage. Song of the Earth was a ballet I believe I could watch over and over again. I have read everyone's mixed comments on this ballet, and I am surprised that more people don't absolutely love this piece. The whole company was amazing. Erina, Isaac and Jeffrey were perfectly matched. In reference to comments about Cirio's size, I felt differently. I don't believe the Messenger has to be ominous. Death can come in many ways. In the program, it states, "As someone who had lived through World War II and whose father had been haunted by his experiences in World War I, MacMillan was all too aware of the way that the shadow of death stalked the pleasure of daily life. Yet he doesn't imagine the messenger as a sinister figure, he is just part of things." If you look at the picture below, Watson is smaller in size than Hristov. 1 Link to comment Share on other sites More sharing options...
fromthebalcony Posted October 25, 2017 Share Posted October 25, 2017 I almost forgot. I was thrilled to see Tiffany Hedman lead the Fourth Song. She was part of Boston Ballet for a number of years. She and Aitor Arrieta made a very nice pair. Link to comment Share on other sites More sharing options...
Sim Posted October 25, 2017 Share Posted October 25, 2017 I think what's important is how each of us imagines him, not how MacMillan imagines him, when it comes to something as intimate as death. Yes, he is definitely 'just part of things', but for me he/death is a very ominous part of things, which casts a shadow over everyday life, especially if we watch the news, or as we get older. But part of the genius of MacMillan, and of this piece in particular, is how it is left open to interpretation. Five different people will have five different versions of what it all means, what happens at the end, etc. And that is how it should be in this case. My views/interpretations of it have definitely changed over the years that I've been watching it. The reason Watson looks smaller than Hristov is because he is standing slightly behind Hristov so is affected by visual perspective. I have stood next to both dancers and they are about the same height - if not exactly, there isn't more than an inch in it, which doesn't affect how they look together on stage. They were very well matched in this piece, in all ways! 1 Link to comment Share on other sites More sharing options...
LinMM Posted October 25, 2017 Share Posted October 25, 2017 Capybara your post made me laugh out loud!! Im seeing this next Wednesday and hope the male leads in Judas Tree can come up with a bit of menacing and malevolence that night!! with all the current talk of sexual harassment against women and men are always out for one thing etc perhaps the dancers are worried about making it too real in case it offends anyone!! (Joke) I do wonder though if these days with so much more emphasis on the technical side in classical training that some things like dramatic and general theatrical skills may be getting lost? 1 Link to comment Share on other sites More sharing options...
alison Posted October 25, 2017 Author Share Posted October 25, 2017 2 hours ago, Sim said: Thiago Soares was very good; I have my reservations about him but he often does it for me in the MacMillan ballets. He is my favourite Rudolf, and I also loved him in Different Drummer, amongst others. He wasn't in Different Drummer (assuming you meant the lead, at least). Link to comment Share on other sites More sharing options...
Sim Posted October 25, 2017 Share Posted October 25, 2017 No, I didn't mean the lead. I just loved his performance in it. Link to comment Share on other sites More sharing options...
Jillykins Posted October 26, 2017 Share Posted October 26, 2017 Riveting programme on Tuesday. Judas tree amazing, how Cuthbertson has progressed since her early appearance in a ballet about the seasons. What was it! Then her first Juliet with Ed Watson and problems with her health. Such a mature Juda Tree, to me she did appear provocative and then showed in a vivid way the physical after pain of the rape. For me Soares danced powerfully and showed the effect of the drama on him. Looking forward to different cast tonight. I have to show my ignorance and ask why the men don yellow coats near the end and before the group rape. Some great dancing in Song of Earth but I find music not of my taste although I found the end moving. Sensational bourres, interesting to have heard Tamara talking about them and how hard it is to bore forward. On my last two visits I have been fascinated to see the elderly man in front of my wheelchair taking notes during the performance. Is he one of us? If so I’d love to say hello! i am so looking forward to tonight, I love Gloria and enjoy seeing dancers from other companies. I must get more adventurous and go to Coliseum and Sadlers Wells more. I am really dependent on my wonderful chair pushers! I am so lucky!q 3 Link to comment Share on other sites More sharing options...
LinMM Posted October 26, 2017 Share Posted October 26, 2017 I'm now hoping to see this Northern Ballet triple in Leeds in March!! It's a great triple and I discovered Poulenc via Kenneth MacMillan and Gloria when he first staged the ballet way back and particularly love that piece. I seem to owe Macmillan a lot music wise ....as also discovered Shostakovitch ( via Concerto) by seeing his ballet!! I was going to see Northern in Little Mermaid in Leeds in December but partner has an op scheduled then now ...but am instead seeing this in Leicester in May at the Curve and hoping to introduce a close friend who is a musician to ballet there!!! I think she has wanted to go before but just needed someone to go with....not everybody is up to going to the theatre on their own but I'm used to it. 4 Link to comment Share on other sites More sharing options...
Jillykins Posted October 26, 2017 Share Posted October 26, 2017 I agree, McMillan has introduced me to some wonderful music! 3 Link to comment Share on other sites More sharing options...
Bluebird Posted October 26, 2017 Share Posted October 26, 2017 (edited) 1 hour ago, Jillykins said: I have to show my ignorance and ask why the men don yellow coats near the end and before the group rape. This was mentioned in Tuesday’s Insight event on MacMillan’s Music. I don’t remember the exact reference but I believe it was something to do with the way the apostles were depicted in mediaeval mystery plays or paintings. Perhaps others who were there might remember exactly what was said? Edit: I just did a search and found the following. (I don't know why the picture appears twice) I'm not sure how relevant it is but it does show the significance of yellow at that time. "Closer to Renaissance ........... yellow started to be viewed as color of falsehood and treason........... ..........And as we see in this fresco by Giotto, yellow was assigned to bad people.Jesus has a loving peaceful face, he is dressed in red and blue, Judas in all-yellow garment." Giotto, Kiss of Ju Edited October 26, 2017 by Bluebird 5 Link to comment Share on other sites More sharing options...
Jillykins Posted October 26, 2017 Share Posted October 26, 2017 Thank you Bluebird! Link to comment Share on other sites More sharing options...
Quintus Posted October 26, 2017 Share Posted October 26, 2017 Giotto's Judas is going in for the lips, not just betrayal but caddish etiquette too! I am probably in a small minority in having preferred The Judas Tree to Lied. It's a painful watch and must be even tougher to dance, particularly for the Mary dancer, but it is thought provoking and engaging. I find Lauren Cuthbertson generally rather cool and was slightly disappointed when I saw the casting, but in the event I enjoyed her performance. I'd like to see someone like Semionova in that role. For the Mahler, I have to admit that I struggled with the singing - to my uneducated ears it all sounded rather uniformly ominous. The dancing was impressively executed (aside a couple of slips) but for the most part didn't really engage me. By the lengthy Song 6 I was yawning, as were the students next to me. Sorry Gustav, it's me, not you... I've got another cheapo ticket for next Tues; I'm undecided as to whether to go and see just Judas Tree again - I don't think I could take another Lied. Link to comment Share on other sites More sharing options...
penelopesimpson Posted October 26, 2017 Share Posted October 26, 2017 On 25/10/2017 at 09:57, Bruce said: Judas Tree and ENB Song of the Earth Hope I'm in the right place - I think Judas Tree and ENB Song have been discussed on separate threads - but they were both on stage together last night so assume they are discussed here... Just wanted to say how much I admired the Judas Tree revival - it's a hell of a piece that makes you think about the base instincts that hover around us humans but rarely fully surface. MacMillan's movement is chillingly graphic and underpinned at every turn by Brian Elias' score. It still feels fresh - years ahead of its time and for me something of a riposte to those still finding their dramatic feet on the dance stage. I wish somebody else would commission Brian Elias. Not easy watching but it makes you ponder at length. I thought Cuthbertson really rose to the occasion as the woman and Watson is a peerless friend. Soares, I think, can did deeper and be more terrifying. Reece Clark, as the second friend, seemed rather out of it. I love the end of Song of the Earth... but not much else. German singing/Lieder does nothing but depress me. Philistines R Us I know! That said Erina Takahashi looked in command of what she was about. Thank god - another fan who doesn’t think Song is the most wonderful thing ever written. A deeply depressing work, made themore so by Germansinging. For me one to miss. 1 Link to comment Share on other sites More sharing options...
bridiem Posted October 26, 2017 Share Posted October 26, 2017 Absolutely thrilling performance of Gloria by Northern Ballet this evening. I'd forgotten quite how beautiful this work is, and NB gave it full value. Antoinette Brooks-Daw constantly unfurled like a sad, reflective rose held firm by Javier Torres and Riku Ito as they blazed through the choreography. Such force, clarity, commitment from the whole company; and such profundity from MacMillan in this depiction not just of war but of the human condition. Fear, pain, loss, anger, anguish; and love, trust, grace, faith, beauty. Stunning. Stunning in a different sense was Judas Tree. I still have no understanding of what this work is supposed to be conveying. The characters' motivations and relationships are unclear from the start, so what happens has no power to move. Who is being betrayed, anyway? Is the woman just collateral damage in the relationship between two of the men? Why does the foreman hang himself? (The apparent Judas/Jesus/Mary parallels really don't work for me since they're very confused and distorted.) If you're going to depict such depravity, you need to show why you're doing so or it simply becomes a gratuitous exercise in violence and darkness. Melissa Hamilton and Bennet Gartside were excellent but I felt sorry for all the dancers. I enjoyed Elite Syncopations last week, but to move from Judas Tree to jolly Joplin in a space of minutes bordered on the bizarre. So for me this was a seriously unbalanced bill. 7 Link to comment Share on other sites More sharing options...
alison Posted October 27, 2017 Author Share Posted October 27, 2017 We haven't had any reports on Sea of Troubles yet - has anyone seen it? Link to comment Share on other sites More sharing options...
LinMM Posted October 27, 2017 Share Posted October 27, 2017 Oh yes I agree Elite syncopations after Judas Tree is a bit of a mis match Bridiem. As its a while since seen Judas Tree I cannot help with why the foreman hangs himself at the mo I'm not seeing this till next week ....but may end up puzzled still will have to see! The triple bill in March in Leeds I'm going to see isn't this one it's Las Hermanas Concerto and Gloria which I Think is a great triple. Also next week Judas Tree is combined with Song of the Earth .....so could be a bit of a depressing evening though I think Song is supposed to be "uplifting" at least! 1 Link to comment Share on other sites More sharing options...
bangorballetboy Posted October 27, 2017 Share Posted October 27, 2017 The foreman hangs himself because of internal feelings of guilt, in the same way that Judas hangs himself after betraying Jesus. 3 Link to comment Share on other sites More sharing options...
Jillykins Posted October 27, 2017 Share Posted October 27, 2017 I must be a bit odd but I was ok with Judas Tree before Elite. We had a half hour interval and time to reflect and discuss. I was much happier going home with Elite in my mind. The man in front of us who was writing during ballet on Tuesday was a critic, probably not appropriate to say his name. He nearly had a punch up with people in front of him over a lady with a cough. That helped transfer from Judas to Elite. Gloria was amazing, I don’t recognise dancers from Northern but all were brilliant, especially the two main men and the glorious main girl.stunning music. Another special evening. Thank you to all. PS I agree about the kiss! 3 Link to comment Share on other sites More sharing options...
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