MellissaHuntsley Posted January 9, 2018 Share Posted January 9, 2018 I am looking forward to Song and Jeunne Homme - not so much La Sylphide.... the opera singers with Song are wonderful - I truly enjoy the depth that provides. Jeunne Homme I have never seen - I will enjoy any cast I see but I really would rather not see La Sylphide. Too bad we can't mix and match!!! 1 Link to comment Share on other sites More sharing options...
Jan McNulty Posted January 9, 2018 Share Posted January 9, 2018 Why do you not want to see La Sylphide? Link to comment Share on other sites More sharing options...
zxDaveM Posted January 9, 2018 Share Posted January 9, 2018 7 hours ago, MellissaHuntsley said: I am looking forward to Song and Jeunne Homme - not so much La Sylphide.... the opera singers with Song are wonderful - I truly enjoy the depth that provides. Jeunne Homme I have never seen - I will enjoy any cast I see but I really would rather not see La Sylphide. Too bad we can't mix and match!!! If I weren't tied up that week, I'd offer to meet you at half time and buy the 2nd half of your ticket from you. A win-win!! 5 Link to comment Share on other sites More sharing options...
MellissaHuntsley Posted January 9, 2018 Share Posted January 9, 2018 I've seen so much through my lifetime of pieces such as La Sylphide - its true LY inspirational to see works like the 2 others... pieces that allow a different heart from the dancers... yes zxDaveM - that would be a win-win!!!! 1 Link to comment Share on other sites More sharing options...
alison Posted January 9, 2018 Share Posted January 9, 2018 Well, I'm considering mixing and matching, assuming I can get some cheap tickets. (Incidentally, the TKTS booth in Leicester Square is showing some stalls seats for £25, but I can't imagine there will be many of them, from what I saw online yesterday.) Link to comment Share on other sites More sharing options...
bridiem Posted January 10, 2018 Share Posted January 10, 2018 I really enjoyed the performance tonight. Song of the Earth started quite serenely but built up to a terrific intensity with Tamara Rojo's Woman blazing at its centre. I found Joseph Caley very moving as The Man - sincere and powerful. I thought that Fernando Carratala Coloma, who I'd never seen before, danced beautifully as The Messenger, and the whole company gave a committed and very effective performance of this wonderful work. And then La Sylphide - ?! I did find that rather a weird combination; but they were both so enjoyable that I can't complain. At first I found the costumes for La S a bit startling, especially the yellow kilts; but once I'd got used to them I was delighted by the riot of colour, the gorgeous music and lovely dancing. Dronina was a beautiful Sylphide and Hernandez a very credible James. Of all ballet's leading men (or women, for that matter) I find James the one to whom I most want to shout 'Oh you silly flaming plonker' (or words to that effect). But Hernandez was so charming and handsome and danced so thrillingly that I completely forgave him. Anjuli Hudson was an excellent Effy and Jane Haworth a terrific Madge - really frightening. I was struck by the sheer beauty of this production and the other-worldly light in which the stage so often seemed to be bathed. A wonderful and surprisingly moving performance. 10 Link to comment Share on other sites More sharing options...
BMC Posted January 10, 2018 Share Posted January 10, 2018 Apologies for commenting on a rehearsal (and only part of one at that as unfortunately had to miss second half of La Sylphide) but I thought Tamara was absolulutely wonderful in Song. Despite having seen her dance time after time over the years, she still somehow manages to surprise with just how incredibly expressive her dancing is. She is one of those dancers who make you see things in the choreography that you hadn't noticed before. I thought it was a terrific performance all round. Looking forward to full Sylphide but the reel with the swirling kilts is irresistible! 5 Link to comment Share on other sites More sharing options...
fromthebalcony Posted January 10, 2018 Share Posted January 10, 2018 How I wish I could be there and see Song once again. I was hoping to be back in London, but it is not going to be in the cards. I loved this ballet and wonder why American companies do not perform it. Really, I would now list Song as one of my top five ballets. Le Jeunne is another that is not performed here, in fact, much of Petit's work is not. So sad to miss it. 2 Link to comment Share on other sites More sharing options...
Quintus Posted January 10, 2018 Share Posted January 10, 2018 10 hours ago, BMC said: A.. I thought Tamara was absolulutely wonderful in Song. Despite having seen her dance time after time over the years, she still somehow manages to surprise with just how incredibly expressive her dancing is. She is one of those dancers who make you see things in the choreography that you hadn't noticed before. I thought it was a terrific performance all round. I also saw it and was equally impressed with Tamara. The first time I saw Song of the Earth I was distinctly underwhelmed, but enjoyed it more this time - part of that might be familiarity, but I think Tamara did bring something to it that engaged me more. La Sylphide was new to me and great fun - Jurgita was a beautifully whimsical and ethereal Sylph, and Jane Haworth excellent as Madge. I'm disappointed that I'll miss Jeune Homme, which sounds fascinating, as I find myself obliged to take a month's holiday in Thailand from this weekend 1 Link to comment Share on other sites More sharing options...
RobR Posted January 10, 2018 Share Posted January 10, 2018 I really enjoyed the RB's 2005 staging of La Sylphide, in which the Sylphide was danced by Rojo, Cojacaru and Lamb. It was beautifully staged, danced and acted. I went to the ENB version (Song of the Earth was a bonus) apprehensive that my 2005 memories might be tarnished. Very happily, the ENB have captured it perfectly. I could not fault the production. The performances of Hernandez, Dronina and Haworth were terrific, supported by an enthusiastic and well-drilled company. I can’t recommend it too highly. 2 Link to comment Share on other sites More sharing options...
Coated Posted January 10, 2018 Share Posted January 10, 2018 Cast list apparently only available with programme when I asked tonight...seeing that the balcony is closed, I'm a little surprised they don't have enough printed up. Link to comment Share on other sites More sharing options...
alison Posted January 10, 2018 Share Posted January 10, 2018 That is not supposed to be ENB's standard policy: does this mean I'll need to lug a programme along to every performance? (And incidentally, I take it the programme covers all 3 ballets, but does it contain the lyrics for Song of the Earth, or will I need to take the ROH programme along as well?) Link to comment Share on other sites More sharing options...
alison Posted January 10, 2018 Share Posted January 10, 2018 By the way, did anyone notice how long the performance actually lasted? I know Le Jeune Homme is a lot shorter, but if it's on before La Sylphide I can foresee a very long interval as the poor stage hands try to change the set to Sylphide's baronial hall! Link to comment Share on other sites More sharing options...
RobR Posted January 10, 2018 Share Posted January 10, 2018 36 minutes ago, alison said: By the way, did anyone notice how long the performance actually lasted? I know Le Jeune Homme is a lot shorter, but if it's on before La Sylphide I can foresee a very long interval as the poor stage hands try to change the set to Sylphide's baronial hall! Started at 1930 and finished at 2230, although it was first night and they did have cast lists available, just like at the RB. Link to comment Share on other sites More sharing options...
Coated Posted January 10, 2018 Share Posted January 10, 2018 (edited) They do have cast lists as normal, just not enough for everyone today (or an extra churlish guardian of the precious). I don't particularly enjoy the mix of ballets in this bill, though either of them are fine by themselves. I wasn't bowled over by the first (male only) song for neither yesterday's nor today's cast, but my interest perked up when they were joined by the female cast. I thought Sendri Kou was particularly lovely to watch. I'm still getting used to the Sylphide costume but adore the fleet footwork Edited January 10, 2018 by Coated Link to comment Share on other sites More sharing options...
Jane S Posted January 10, 2018 Share Posted January 10, 2018 It was a bit shorter tonight, I think. Also a much more enjoyable evening, mostly. 2 Link to comment Share on other sites More sharing options...
Irmgard Posted January 11, 2018 Share Posted January 11, 2018 3 hours ago, alison said: That is not supposed to be ENB's standard policy: does this mean I'll need to lug a programme along to every performance? (And incidentally, I take it the programme covers all 3 ballets, but does it contain the lyrics for Song of the Earth, or will I need to take the ROH programme along as well?) Just to let you know that the programme does include the text of the songs (not so on tour where the texts were handed out separately) and it does cover all three ballets. Finished on time this evening (around 10.30pm). 1 Link to comment Share on other sites More sharing options...
zxDaveM Posted January 11, 2018 Share Posted January 11, 2018 I was in attendance at the dress rehearsal, armed with the fairly trusty camera - here are some photos: Joseph Caley, Fernando Carratala Coloma, Tamara Rojo © Dave Morgan. Courtesy of DanceTabs / Flickr Artists of the company © Dave Morgan. Courtesy of DanceTabs / Flickr Isaac Hernandez, Jurgita Dronina (and artists of the company) © Dave Morgan. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: English National Ballet - Song of the Earth, La Sylphide double bill Courtesy of DanceTabs / Flickr 7 Link to comment Share on other sites More sharing options...
capybara Posted January 11, 2018 Share Posted January 11, 2018 8 hours ago, Jane S said: It was a bit shorter tonight, I think. Also a much more enjoyable evening, mostly. Please say more, Jane S ! Link to comment Share on other sites More sharing options...
Jane S Posted January 11, 2018 Share Posted January 11, 2018 In a rush just now - but Sylphide in much better shape. 1 Link to comment Share on other sites More sharing options...
amos73 Posted January 11, 2018 Share Posted January 11, 2018 On 1/8/2018 at 20:32, aileen said: It's very sad and unfortunate that Shiori Kase is injured again. I'm sure that she would have been a lovely Sylph. I hope that it's not an old injury that has flared up again. I saw Shiori performing the sylph at Milton Keynes in October (my DC is one of the children performing with ENB) and she was wonderful, particularly in the second act, so moving. 2 Link to comment Share on other sites More sharing options...
Ian Macmillan Posted January 11, 2018 Share Posted January 11, 2018 The tartan extravaganza is not a personal favourite, I must say - but as a Scot, born and raised, with strong West Highland connections, I've never come across anyone called, or known as, 'Gurn.' With apologies for a somewhat tangential question, other than in Sylphide, has anyone? Link to comment Share on other sites More sharing options...
MAB Posted January 11, 2018 Share Posted January 11, 2018 13 hours ago, Jane S said: It was a bit shorter tonight, I think. Also a much more enjoyable evening, mostly. I felt that last night was the more enjoyable evening too, mainly because of the superior cast in La Sylphide with the leading couple having the better grasp of Bournonville style and technique, and with Eva Kloborg guesting as Madge, I almost felt I was in Copenhagen. Erina Takahashi is supremely suited to this role, delicate and playful at the beginning and heart breaking in her blindness and death. In true Danish style she danced (almost) silently whereas the Sylph of the night before clattered across the stage so loudly I could hear her in the back row of the balcony. Ciro Tamayo is already experienced in the role of James and it showed, his interpretation was well nuanced and I liked the way his conscience clearly pricked him over Effie, he knew he was a blockhead to chase a fairy but he simply couldn't help himself. Tamayo knows how to perform Bournonville and his open-armed jetes were a joy to watch, I believe he is appearing as a guest, hopefully he'll be invited back. 4 Link to comment Share on other sites More sharing options...
Sim Posted January 11, 2018 Share Posted January 11, 2018 2 hours ago, Jane S said: In a rush just now - but Sylphide in much better shape. Good, as I'm seeing it on Saturday! How about Song? That seems to have had worse reviews than Sylphide.... Link to comment Share on other sites More sharing options...
Sim Posted January 11, 2018 Share Posted January 11, 2018 17 hours ago, Quintus said: I also saw it and was equally impressed with Tamara. The first time I saw Song of the Earth I was distinctly underwhelmed, but enjoyed it more this time - part of that might be familiarity, but I think Tamara did bring something to it that engaged me more. La Sylphide was new to me and great fun - Jurgita was a beautifully whimsical and ethereal Sylph, and Jane Haworth excellent as Madge. I'm disappointed that I'll miss Jeune Homme, which sounds fascinating, as I find myself obliged to take a month's holiday in Thailand from this weekend Quintus, in order to relieve you of your hardship and not to deprive you of seeing JH, I will very gladly swap my Coli ticket with your plane ticket..... 3 Link to comment Share on other sites More sharing options...
Beryl H Posted January 11, 2018 Share Posted January 11, 2018 Went last night, although I was disappointed the Balcony had been closed, for once I had a comfortable seat and a good view in the Upper Circle, lots of others didn't as there was the usual musical chairs during the intervals. Although I'm never going to really like Song of the Earth I did quite enjoy last night, I felt it was lighter in mood than usual, for me a good thing though it probably shouldn't have been, looked out for Henry Dowden as I read he was born in Sussex (Haywards Heath), thought he gave an excellent debut as The Messenger, and saw Jurgita Dronina for the first time as The Woman, remember particularly also liking Tiffany Hedman and James Streeter together. It was La Sylphide I went to see and I was very happy with the production and the cast, Erina Takahashi was light and ethereal and ideal for the Sylphide, Ciro Tamayo was a revelation as James, and of course Eva Kloborg lived the role of Madge, was also very impressed with Daniel Kraus as Gurn and Francesca Velicu as Effie, glad I went last night, lots of new dancers to enjoy! 3 Link to comment Share on other sites More sharing options...
Guest Posted January 11, 2018 Share Posted January 11, 2018 What are members' impressions of ENB's current production of La Sylphide compared with the previous (Olivier/SWET award winning)) production mounted for the same company in 1979 by Peter Schaufuss? I haven't seen the new production yet, but was particularly fond of David Walker's sets and costumes. Link to comment Share on other sites More sharing options...
Jane S Posted January 11, 2018 Share Posted January 11, 2018 Song of the Earth: I liked Rojo on opening night but she's been even better in the past and the rest of the soloists didn't live up to her - though the young Fernando Carratalá Coloma, the Messenger of Death, showed a lot of promise. So did Henry Dowden, making a very confident debut in the same role the next night, and I also liked Aitor Arrieta as the Man in that performance. Sylphide: A really attractive Sylph from Erina Takahashi last night and nice Jameses both nights from Isaac Hernandez and Ciro Tamayo (who would be even better if he could slightly turn down the volume on his acting in places). I like the way they are casting Effie, and Daniel Kraus as Gurn had the character very well. Praise also for the two leading sylphs, Precious Adams and Jia Zhang and - of course - for Eva kloborg's Madge and also for Jane Howarth in the same role. I didn't like the comedy act of the two farmhands, though, most especially when they were hamming about at the back of the stage when Effie was making her decision to accept Gurn. Some work needed on Wing Release and Cradle Management. I'm afraid I simply don't get Jurgita Dronina - I've seen her in three big roles now and she's disappointed me each time - nothing wrong with her dancing but she seems to me very short of expressiveness and she doesn't hold my eye - I saw a lot more of the corps de ballet work in last night's Song of the Earth than I ever have before. Others may see her differently. 1 Link to comment Share on other sites More sharing options...
RobR Posted January 11, 2018 Share Posted January 11, 2018 (edited) I’m well into double figures so far as Sylphide is concerned and, as I may have indicated in my initial post, have watched Rojo, Cojocaru and Lamb dance the title role. I have no reservations about either Dronina's dancing or her characterisation (or acting). I thought she was good, as I thought Hernández and Haworth were both good. I omitted mention of Kraus, but I liked him in the part of 'Gurn' (apropos of which, this is a Danish take on the Scottish highlands) and thought he danced the role with charisma. I am interested to note the suggestion that the 'farmhands' were engaged in a 'comedy act'. In every performance I’ve seen, the two retainers puff and pant in exactly the same fashion. I’d always assumed it was Bournonville's staging rather than a recent introduction by the ENB. Edited January 11, 2018 by RobR Omitted conjunction Link to comment Share on other sites More sharing options...
Sim Posted January 11, 2018 Share Posted January 11, 2018 On 08/01/2018 at 21:00, MAX said: Must be difficult for her to see Rina Kanehara taking such an important place at ENB. I don't know Kanehara, is she that special ? Yes she is. 1 Link to comment Share on other sites More sharing options...
Irmgard Posted January 12, 2018 Share Posted January 12, 2018 I attended the first of ENB’s two double bills on Wednesday evening and Thursday afternoon. Having already seen the programme in Milton Keynes, I still find the new production of “La Sylphide” vastly inferior in both design and content to the beautiful, award-winning Schaufuss production previously in the repertoire and I feel it a great shame, for whatever reason, that this jewel could not have been restored to the company for which it was made, especially having seen the delightful performances by Queensland Ballet a few years ago. Apart from containing less choreography, the Act I costumes grate, particularly the hard character shoes worn by the girls, and the Act II set is particularly dismal with its huge boulders rather than the idyllic woodland glade created by David Walker. I am glad that the ending in which the sylph is taken up to sylph heaven (such a favourite device of the Romantic era with theatres keen to show off their stage machinery) has been restored, having been omitted in Milton Keynes perhaps due to lack of space, but the funeral procession of sylphs as this happens is something I could do without (it is not in the Schaufuss version) as bourrées travelling forward in 5th position hardly ever look good in profile and, trying to cross the vast width of the Coliseum stage, can end up looking like a step-drag step rather than the floating vision they are supposed to represent. My gripes about the production aside, there were some very fine performances to enjoy and I take my hat off to the company, having only finished its run of 34 ‘Nutcrackers’ the previous Saturday, for the energy and enthusiasm with which they performed. I had seen most of the Wednesday cast in Milton Keynes and again warmed to Daniel Kraus’s endearing Gurn who makes you glad he gets the girl in the end. Francesca Velicu’s Effy still needs to work on clarity in her mime and in her footwork but was quite touching at the end when she realised her happiness lay with Gurn. Ciro Tamayo, as James, had developed more of a character than when I saw him in Milton Keynes and his dancing was superb. Jia Zhang brought beauty and a deliciously Romantic style to the role of First Sylph. As the sylph of the title, Erina Takahashi was a pure delight with her exquisite, effortlessly light dancing and charm. I cannot understand why ENB’s website lists the sylph as one of the ‘five femme fatales’ of ballet! The clue being in the word ‘fatale’, the term femme fatale surely implies a cruel female who uses her seductive powers to lure men to their death, which is hardly a description of this childlike woodland spirit who has watched James hunting in the glade since he was a child (as Takahashi’s mime so clearly describes) and is heartbroken at the thought of him giving his love to another but who has no thought of harming him! There is no ‘dark side’ to the sylph in the original libretto and I am glad that none of the sylphs I have seen has been played as anything other than captivating and capricious. The huge disappointment in this performance was the Madge of guest Eva Kloborg. Having been privileged to see the great Niels Bjorn Larsen in the role a number of times, I expected someone with the same heritage to bring the same power and depth of characterisation to the role but sadly Kloborg’s Madge had neither weight nor depth. This was even more evident when I watched Laura Hussey’s superb Madge at the Thursday matinee. Her command of the stage, whether as the limping crone or at her moment of triumph over James, was totally thrilling and her mime was equally powerful, so that one could almost hear the words she was uttering. Aaron Robison was the hapless James and it was wonderful to see him make full use of the stage area with his impressive, joyful dancing and beautifully stretched feet, especially in the beaten jumps. His characterisation was a delight, being the true Romantic vision of a rather affable chap who yearns for the unattainable and, when he sat slumped on a tree stump at the end of Act II, head in hands as he realises what he has lost, I actually felt sorry for him, which of course the audiences of the period were expected to do. His Effy was beautifully performed by Connie Vowles whose lovely, stylish dancing was matched by totally natural acting aided by great clarity in all her mime. His Sylph was Alison McWhinney who was even more enchanting than when I saw her in Milton Keynes and, like Takahashi, her dancing was of the utmost delicacy, particularly her beautiful footwork. So, although I would dearly love to see all these artists in the Schaufuss production, I will happily sit through a few more performances of the current one next week to enjoy their work again and see a few artists new to me in these roles. As for “Song of the Earth” I have to confess that when I first saw it performed by the Royal Ballet many years ago, including at least one performance by the great Marcia Haydee, I could take it or leave it because I felt the choreography did not reflect the profundity of the music. Now, possibly thirty years since the last time I saw it, I am very grateful that Lady MacMillan granted ENB permission to perform it because in Milton Keynes, Covent Garden and at the Coliseum I have quite simply fallen in love with the ballet due to the mesmerising performances I have seen. It has been lovingly staged by Grant Coyle and it is very clear that the dancers consider it a privilege to dance so that each person onstage succeeds in bringing out the beauty of every step, as well as the meaning of the text and the music. From the first exuberant entrance of the men in the First Song, this was a transcendental experience at both performances I saw this week. Making his debut at very short notice as the Messenger (of Death) on Wednesday evening was Henry Dowden who was in full command of the choreography and the demanding partnering. Aitor Arrieta as the Man, muted his usual charisma in the First Song as if to say any one of the six men could have been chosen by Death but, once he has been chosen, his is a magnetic portrayal. In the brief interlude of gaiety before the Sixth Song, Senri Kou was sunshine itself in the Third Song as she was manipulated in acrobatic fashion by the quartet of men. I was very interested to see what Jurgita Dronina would bring to the role of the Woman as I have only ever seen her in story ballets and, as she said to me afterwards, it is an entirely new style for her. As expected, the quality and artistry of her dancing shone through, as well as a deep feeling for Mahler’s score (gorgeously played under the baton of Maestro Gavin Sutherland) that made her beautiful use of the upper body and ports de bras achingly so at times. She excelled in the Sixth Song, particularly in the pas de deux with Arrieta towards the end and, as he leaves her and she gradually slides down his body to lay on the floor, her despair was palpable. Another highlight for me was the softest of bourrées weaving across the stage and then that final slow-motion walk where she, Dowden and Arrieta were in perfect unison, to the glowing celeste and the singer’s fading “ewig” – breath-taking! Kudos to Arrieta for partnering another of the company’s ballerinas in a second performance of MacMillan’s complex choreography less than twenty-four hours later which, for me, was the most sublime one I have seen, from the effervescent Adela Ramirez in the Third Song, the lovely pas de deux from James Forbat and Connie Vowles in the Fourth Song, through to the trio of named characters who were a dream team for me. The only slight downside was the singing in which, at times, it was audible that the voices were tiring. It is a huge ask for singers to perform Mahler’s epic song cycle twice in less than twenty-four hours and I am amazed Rhonda Browne and Samuel Sakker agreed to it although the opportunity to perform multiple times a song cycle that is not often performed even in concert halls must be extremely tempting! Joining Arrieta in my dream team were Ken Saruhashi as the Messenger and Fernanda Oliveira as the Woman, surpassing the superb performance they gave in Milton Keynes. Saruhashi has developed his persona even further to give a performance so nuanced and multi-faceted that he is fast developing into a true dramatic dancer. Likewise, the innately musical Oliveira brought a beauty and an almost unbearable poignancy to MacMillan’s choreography which took the Sixth Song, in particular, to another level and made the final moments both heartrending and uplifting at the same time. This team gives their last scheduled performance tomorrow afternoon and I would urge anyone in the vicinity to take advantage of one of the many ticket offers and spend sixty-five minutes in pure ballet heaven and you will have the bonus of the lovely Alison McWhinney in “La Sylphide” which follows. 13 Link to comment Share on other sites More sharing options...
capybara Posted January 12, 2018 Share Posted January 12, 2018 What a great review, Irmgard. I love the way you honour so many of ENB's dancers on an individual basis. I am planning to write once I have seen tomorrow's shows but I know that my account will be nowhere near as rich as yours. 1 Link to comment Share on other sites More sharing options...
Guest Posted January 12, 2018 Share Posted January 12, 2018 (edited) Thanks, Irmgard, for your review. I asked in earlier post if anyone had seen both the Schaufuss and the current production and was really interested to read your comparison. Edited January 12, 2018 by Darlex Link to comment Share on other sites More sharing options...
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