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English National Ballet: La Sylphide, The Song of the Earth / Le Jeune Homme et la Mort, London, January 2018


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2 hours ago, Irmgard said:

I  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. 

 

Surely the Sylph is very much a seductress, even if I wouldn't use the term femme fatale to describe her.  She seduces James away from his bride on the eve of his wedding and indirectly brings about his downfall.  Some sylphs I've seen have been more alluring than "childlike", it's a role where a certain leeway in interpretation exists.

 

Eva kloborg plays Madge as an evil presence seeking vengeance for her wounded pride, for me it was a subtle and highly nuanced performance.  Ms Kloborg made her debut in the role in 2008 at the performance marking the retirement of her husband, Frank Andersen, and has thought deeply about the character and her motivation.  I found her chilling.  In the current RDB production by Nikolai Hubbe Madge is no longer a woman but a hard line Presbyterian preacher with secret desires for James, similar to Claggart's motivation in destroying Billy Budd.  

 

".......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."

 

It may not have been in the Peter Schaufuss version but it is totally authentic, indeed to exclude it sounds perverse.  For many years a production by Hans Brenaa was performed in Copenhagen though by the time of the last Bournonville festival the company was performing a traditional version by Hubbe and the funeral procession was a feature of both.  I have no reason to believe it is not authentic Bournonville and thought the dancers of ENB performed the bourees very well..

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1 hour ago, Darlex said:

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. 

Did you know that an LFB performance of the Schaufuss production, which was filmed for television,  is available complete on youtube?  It stars the divine Evdokimova.  Just search for la sylphide evdokimova and it should come up - happy memories!

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40 minutes ago, Irmgard said:

Did you know that an LFB performance of the Schaufuss production, which was filmed for television,  is available complete on youtube?  It stars the divine Evdokimova.  Just search for la sylphide evdokimova and it should come up - happy memories!

Its so fortunate that this recording exists. I have seen the Schaufuss production live too with Evdokimova and yes, she was divine and the rest of the cast were fabulous. I haven't seen the new production yet. 

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5 hours ago, Irmgard said:

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.

 

Oh, believe me, I intend to :)  Of the three casts I've seen, this one felt the best integrated - but then the chopping and changing of dancers in the other casts can't have helped.

 

Incidentally, this run has, I think, cleared up something that has bothered me for years: I don't actually think any of the dancers are in khaki for any of it, are they?  I think all the supporting cast are in grey, and that any impression of khaki-ness is simply produced by the golden lighting on the supporting dancers compared with the whiter lighting on the principals.  I'd always thought the demi-soloists, so to speak, were in grey and the others were in khaki, but now think I've been wrong all these years.

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Went to see ENB last night at London Coliseum. I haven’t seen Song before and when it comes to the more abstract ballets my natural affinity is not with Macmillan so I don’t really want to comment too much, except to say that Rojo and the other female leads in each of the songs dazzled. Loved the 3rd and 6th songs the most. Striking ending.

 

Sylphide was lovely, wasn’t too overwhelmed by the bright costumes- I don’t think they are much brighter than the Danish version I have on DVD. Dronina was a perfect Sylphide and close enough to see her facial expressions I think she did convey happy/sad/mischief... Beautiful Romantic arms but not sure the corps got the memo about the Romantic style, arms not soft and delicate enough. Hernandez was a dynamic James, giving the explosive music a run for its money with his giant leaps and tight footwork. 

 

I am a a big fan of national dances which feature in the classical repertoire and the Scottish dancing was wonderful at the wedding celebration. The children who danced deserve a special mention for their contribution- and what a fabulous opportunity. 

 

Star of the show for me was Jane Haworth though for her characterisation of Madge - a truly manipulative crone! She was my first Myrtha in Giselle many moons ago!

 

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I saw the Friday night and Saturday matinee performances. Having not been particularly enamoured with Song of the Earth at the ROH a few years ago I was surprised to find that I really enjoyed it on Friday, hence my booking for the performance on Saturday. I felt that the Oliveira/Arrieta/Sarahusi cast was the more integrated one and Oliveira had the edge over Takahashi in terms of intensity. I've been pondering the Messenger role. I'm no expect but I think that he can be played in a variety of ways. I don't think that he has to be a tall or physically 'substantial' dancer or one who has a very menacing presence. Ken Sarahusi is very slightly built and a rather quicksilver dancer. His Messenger was not physically dominating but an insistent figure, always returning to remind the Man and the Woman that death awaited. He was not sinister or threatening but quietly bided his time. I personally thought that he was very effective in the role. Adela Ramirez and Senri Kou were both excellent in the Third Song (I thought that the whole corps was very good, actually). I have wondered before why the latter has not been cast in leading roles as she has always impressed me in the featured roles that I have seen her in. I would have thought that she'd be a natural Giselle and Sylph (ah, the mysteries of casting and career progression again....)

 

As for La Sylphide, well, I rather liked the costumes (although perhaps another colour could have been substituted for the yellow). People are always complaining about how dark and drab sets and costumes are. Ciro Tamayo's dancing was spectacular but I agree that he could tone the acting down a notch; however, I was sitting in the stalls and perhaps it came across better to people sitting further away. Rina Kanehara was a lovely rather child-like Sylph, playful and coquettish. I thought that she could hardly be bettered but Alison McWhinney's beautiful soulful Sylph was absolutely heartbreaking at the end. I would like to pay a special mention to the children (from the Young Dancers Academy and the West London School of Dance) taking part. They were excellently drilled and a total delight (particularly the little boy wearing the red kilt dancing at the front).

 

Btw, is it really the case that Ciro Tamayo performed on four consecutive days this week (he was in both of the performances that I saw)?

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I saw the Satuday matinee...I really enjoyed it. 

 

I have seen Song once before the last time the RB did it but my seat was really bad, I couldn't see much.  At the time I liked what I could see and enjoyed the music and have always wanted to see it again.  This time round I had a great view but I think I didn't feel very connected to it until nearer the end when Fernanda Oliveria's performance really got me.  I feel like it's a ballet I could love because it's a really interesting piece of work, I really like the idea's behind it and the music...it all comes together so well.  But I can't put my finger on it except I just didn't feel drawn in for quite a lot of it.  I didn't love it...but I wanted to! :lol:  One to definitely try again in the future.  

 

I really loved La Sylphide...I thought Ciro Tamayo was just fantastic, very impressive.  I've never seen this ballet before but I'm an instant fan.  Alison McWhinney danced beautifully and gave a great performance.  I thought the whole piece was well acted by everyone, costumes and set I loved, and the big group number towards the end of the first act was a lot of fun.  Then the sadness and heartbreak of the second act was really well played too.  I just wish the whole thing was longer but then it wouldn't be the same ballet would it...hopefully it wont be too long before another company does it and I'll get to see it again :) 

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10 hours ago, aileen said:

I saw the Friday night and Saturday matinee performances. Having not been particularly enamoured with Song of the Earth at the ROH a few years ago I was surprised to find that I really enjoyed it on Friday, hence my booking for the performance on Saturday. I felt that the Oliveira/Arrieta/Sarahusi cast was the more integrated one and Oliveira had the edge over Takahashi in terms of intensity. I've been pondering the Messenger role. I'm no expect but I think that he can be played in a variety of ways. I don't think that he has to be a tall or physically 'substantial' dancer or one who has a very menacing presence. Ken Sarahusi is very slightly built and a rather quicksilver dancer. His Messenger was not physically dominating but an insistent figure, always returning to remind the Man and the Woman that death awaited. He was not sinister or threatening but quietly bided his time. I personally thought that he was very effective in the role. Adela Ramirez and Senri Kou were both excellent in the Third Song (I thought that the whole corps was very good, actually). I have wondered before why the latter has not been cast in leading roles as she has always impressed me in the featured roles that I have seen her in. I would have thought that she'd be a natural Giselle and Sylph (ah, the mysteries of casting and career progression again....)

 

As for La Sylphide, well, I rather liked the costumes (although perhaps another colour could have been substituted for the yellow). People are always complaining about how dark and drab sets and costumes are. Ciro Tamayo's dancing was spectacular but I agree that he could tone the acting down a notch; however, I was sitting in the stalls and perhaps it came across better to people sitting further away. Rina Kanehara was a lovely rather child-like Sylph, playful and coquettish. I thought that she could hardly be bettered but Alison McWhinney's beautiful soulful Sylph was absolutely heartbreaking at the end. I would like to pay a special mention to the children (from the Young Dancers Academy and the West London School of Dance) taking part. They were excellently drilled and a total delight (particularly the little boy wearing the red kilt dancing at the front).

 

Btw, is it really the case that Ciro Tamayo performed on four consecutive days this week (he was in both of the performances that I saw)?

My Dd was one of them! She will be thrilled to hear how you enjoyed her and her classmate's performance. And yes it has been an amazing opportunity for them.

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11 hours ago, aileen said:

 

 

Btw, is it really the case that Ciro Tamayo performed on four consecutive days this week (he was in both of the performances that I saw)?

 

I dropped in on Wed, Thurs and Friday Evening performances and Tamayo danced James in all of them as he obviously did the Saturday matinee - so, yes, four consecutive outings.  That's going some.  Thought his dancing was excellent in each - and his focus varied subtly for each of his Sylphs.  If I had to chose one out of that latter number as my personal best I think I'd plum for Kanehara.  She glistened ... as much as listened ... throughout.  Thought Kloborg too a  most telling Madge; the very personification of a alcoholic.  The redolent stench of spirits spat from her eyes and gave understandable licence to this character's overt selfishness.   Rojo ruled searingly in Song and Robison as Saturday night's Messenger telegraphed through vivid indication the great things that are to come for us in his regard during his ENB tenure.    

Edited by Bruce Wall
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Amos73, did the same children dance at all the performances and go on tour with the company to Manchester and Milton Keynes? And is this the first time that these schools have performed with the company? I know that Elmhurst always perform in the Nutcracker but I don't know which school performed in Corsire or R&J (I think that there are children in the Deane in-the-round version which the company performed at the Royal Albert Hall).

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Hello Aileen - yes they did the tour weeks with ENB as well in october. 

La sylphide is the first production that their school have been asked to provide children for ENB.

 

Tring provides the children for nutcracker. 

It has been an amazing experience for the children and they have loved every second of it!

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Thanks for your reply, amos73. Yes, it must have been a wonderful experience for them. Of course, they have another seven performances before they have to return to 'normal' life. If you wouldn't mind saying, who is your child's favourite Sylph?

 

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Hi aileen

Yes they have one more week. She is definitely going to be very sad when it is all over and they are back to reality. Getting a taste of company life has been so inspiring for her.

I will ask her tonight if she has a favourite!

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On 1/14/2018 at 12:17, aileen said:

Btw, is it really the case that Ciro Tamayo performed on four consecutive days this week (he was in both of the performances that I saw)?

 

As others have said , he did.

Moreover, Ken Saruhashi danced the role of The Messenger of Death last Thursday afternoon, Friday evening and Saturday matinee. That is a very big  (even bigger?) 'ask'.

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I saw Saturday evening's performance and as on Wednesday I liked the way ENB danced Song of the Earth, it felt more lyrical and less full of gloom than usual, and it was great to see Tamara Rojo, wish she was dancing the Sylphide too. Liked the first Sylphide cast on Saturday, looking forward to seeing different ones this week, I'm not booked to see him but won't mind if Ciro Tamayo dances James again! Good to see the Balcony almost full again, hope ticket sales pick up this week.

 

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Out of the four Songs I saw, I thought the Saturday matinee Oliveira cast was the most coherent - and cohesive.  There had been some problems with synchronisation among the men at earlier performances, but either these had been ironed out by then, or I was getting less sensitive to them, or they were less obvious from my viewing angle. Also, it's taken me a while to get used to some very different viewpoints than what I'm used to for this ballet at the Royal Opera House. I liked several of the female soloists, even if I felt that some of them played to the audience a bit too much: it seems to me that Song of the Earth ought to be almost internalised, with the dancers in their own little world and not conscious that they are being watched.  I thought Aitor Arrieta did well as the Man, too, and Ken Saruhashi impressed me as the Messenger of Death - he seems to have "got" the role well - although by then I think he'd danced the role 4 times that week, so ought to be well familiar with it!

 

I've seen less of the Sylphides, so am less able to comment on them.  As I mentioned above somewhere, I liked Alison McWhinney's Sylphide a good deal, although since I've caught her quite a bit already I'll probably skip hers tomorrow and go for a different cast instead.  Also liked Ciro Tamayo's James a lot - although so far I've not really felt that any of the James I've seen have totally caught that Romantic ardour/hotheadedness or whatever that should fuel his pursuit of the sylph and his abandonment of his fiancee.  I was also surprised to see quite so much open blue sky in the second act - I thought it usually took place in a forest glade or something?

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12 hours ago, alison said:

 I was also surprised to see quite so much open blue sky in the second act - I thought it usually took place in a forest glade or something?

 

That's in order to give a clear view of the Sylph ascending to sylphide heaven.

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Apologies for a website comment in the middle of the discussion but I keep getting caught by the fact that the new comments are now on the second line of the title - pages 1 and 2 on the first line, page 3 on the second line.  In writing this I'll hopefully remember but I wondered if there was a web design solution which might ensure that all page numbers were kept together on one line?  In this case all the page numbers would now be on the second line.  As I say sorry for breaking the flow and many thanks for all the fascinating posts.

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Foteini Christofilopoulou was at the dress rehearsal for 'Le Jeune Homme et la Mort' which opens tonight - here are some photos:

 

38826391235_cd96c55ac8_z.jpg
Tamara Rojo, Ivan Vasiliev
© Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr

 

39015339074_d98dd9c7e8_z.jpg
Ivan Vasiliev, Tamara Rojo
© Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr

 

See more... 

Set from DanceTabs: ENB - Le Jeune Homme et la Mort
Courtesy of DanceTabs / Flickr

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  • John Mallinson changed the title to English National Ballet: La Sylphide, The Song of the Earth / Le Jeune Homme et la Mort, London, January 2018

Just wanted to note that this afternoon's matinee (in front of an audience far smaller than it by right deserved) was entirely (or at least from my perspective) blissfully ripe.  I'm so pleased I made allowances to work in order to attend.  

 

Corrales' debut in Le Jeune Homme et la Morte was charisma personified.  (Were we expecting anything less????)  Testosterone flared AUDIBLY in his nostrils as he seethed over, around and above that table - in a fashion not unlike the evocative orbits of smoke he had so delicately traced in the air but minutes before in that dangerous dangle from his bed.  Corrales' was a circus of heart over head and ALL was in avid pursuit of Jia Zhang's insolently imperative black glove.  Their rapt audience bellowed bravos lustily; at a volume far beyond their own diminished magnitude..  

 

The La Sylphide which followed soared with gossamer assurance in the enchanted hands - or more appropriately - winged feet - of Takahasi and Tamayo.  (I so hope this lad and his jet propelled leap gets a return invite to guest with ENB).   New to me were William Beagley's Gurn - artfully demure in his determination - and, MOST vividly - Laura Hussey's Madge; here a figure strangely fortified by her own dissolution.  (I overheard people comparing her to Monica Mason.  A most apt association I thought.)

 

T'was an afternoon rich in delight.  

 

 

Edited by Bruce Wall
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Cesar Corrales's performance as the Jeune Homme this afternoon was breathtaking in its characterisation, emotional  charge and technical aplomb. Together with the wonderful Jia Zhang, he took this ballet to another level. Astonishing! Such a privilege to be there.

 

And his next Artistic Director was spotted watching him :)

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I'd just like to put in a brief word for last night's La Sylphide (c'mon, folks, have really so few of you been to see these bills?  We're still only on page 3): I thought Rina Kanehara was enchanting in the title role.  And Joseph Caley isn't a dancer I've always taken to in the past, but I certainly warmed to his James - he looked as though he was having the time of his life.  I also loved Jane Haworth's Madge - so much detail in everything.

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Just got there this afternoon, Alison! A big shout for Cesar Corrales' amazing debut in Jeune Homme et la Mort and for an exceptional rendition of Madge by Laura Hussey. The rest of the dancers were good, but these two stood out for me. The ladies looked more like people in costumes rather than 'real sylphs'. Not sure if that is because of the dancers, the costumes or my lack of imagination. I believed completely in Evdokimova and co...I  was a little younger...and she WAS exceptional, but glad I spent my afternoon in the Coliseum today.

 

 

 

 

 

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BTW some things I don't get in ENB. Jia Zhang gave a really assured performance as the only female (la Morte) in 'Jeune Homme et la Morte' and she is an Artist (bottom rung). Same regarding Pedro Lapetra (Mercutio, Fritz...etc) and Laurent Liotardo (Albrecht, Benvolio). On a slightly different note Connie Vowles' biography states that her favourite role is the Spring Fairy in Ashton's Les Rendezvous...errr typo?!!

 

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Aaron Robison as James in last night's performance was incredible.  He is a dancer I now really look forward to seeing every time he is cast.  Ok, I don't have the right words, but his footwork was so fast and crisp and sharp, every move so beautifully finished, especially unexpected in such a tall dancer with such long arms and legs, that I couldn't take my eyes off him.  Jurgita Dronina is made to dance a sylph.  Oh, and I loved the yellow kilts!

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Just a brief word because I'm going again tomorrow, thrilled by Tamara Rojo and Ivan Vasiliev in the Petit, although obviously slightly less high-powered, the Begona Cao and Isaac Hernandez debuts were exciting too, looking forward to Cesar Corrales tomorrow ! Lovely performances in La Sylphide both nights especially by Rina Kanehara who was enchanting, Henry Dowden is looking very good, saw him both nights as Gurn, will say more after seeing tomorrow's, a little confused by all the different names at the moment whilst juggling cast sheets, especially as one of them says Song of the Earth when it was Jeunne Homme! 

 

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I have seen a quite a few performances at the  Coli over the last week and Cesar Corrales and Jia Zhang in Jeune Homme were definitely my personal highlight. There was a smouldering passion that seemed to amplify every move, each gesture seemed to have a meaning. Casar's dancing was fearless (he matched Ivan Vassiliev in this regard, though some of Ivan's pyrotechnics remain solely his own brand of death-defying) and gorgeous to watch, but it was his characterisation that made an even bigger impression on me. I could practically hear his inner torment and yearning. Jia Zhang was in control from the second she entered the stage, toying with Cesar like a bored cat with a mouse. Her gleefull joy at having succeded in driving the young men to his death was as delightful as her clean lines and beautiful dancing. I'm definitely going back for seconds on Saturday, though I probably don't have the stamina to see an 8th Sylphide.

 

My other personal highlight included Erina Takahashi in Song and in Sylphide, and the divine Rina Kanehara in Sylphide. I enjoyed Ciro Tamayo as James, though perhaps more in comparison to the other Jameses I saw in this run than as an ideal James. Joseph Calay surprised me with his expressive characterisation - his James was fully fledged,  a slightly foolish but likeable man. 

 

Rina Kanehara brought a sweetness and childlike innocence to her Sylphide that could perhaps be cloying on a different artist, but in her hands created an otherworldly delight. Her dancing was so delicate, light and moving - I could have watched her for hours on end.

 

Erina Takahashi was so strong and solemn in Song, I couldn't take my eyes off her. She brought a crispness and  gravitas to the piece and made me hang on her every move with bated breath. To see her shortly afterwards dance a beautiful, fleet footed Sylphide made me realise what a wonderful, versatile artist she is.

 

Overall these probably weren't my favourite performances by ENB. The first song in the cycle was nearly painful to watch for the first couple of performances, the was no harmony and the dancers seemed to all do their own thing. Things did improve, and the same dancers performed more evenly in later performances but it really wasn't a great start. 

 

I still don't enjoy the very loud costumes in Sylphide, and the seemingly never ending (not very clear to me) mime.

 

Most of all, I felt that the programming did not really work that well. I had to forcefully switch 'moods' to enjoy Sylphide after Song, and Jeune Homme is even less suited to it. And as much as I enjoyed Sylphide despite a few quibbles, I didn't like the choice of watching a (large) number of them in a row or going downtown for a 20min 'bill'

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1 hour ago, cavycapers said:

Aaron Robison as James in last night's performance was incredible.  He is a dancer I now really look forward to seeing every time he is cast.  Ok, I don't have the right words, but his footwork was so fast and crisp and sharp, every move so beautifully finished, especially unexpected in such a tall dancer with such long arms and legs, that I couldn't take my eyes off him.  Jurgita Dronina is made to dance a sylph.  Oh, and I loved the yellow kilts!

So pleased to hear this as I am seeing them tomorrow night!

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I wasn’t going to comment, as I have no previous experience of either piece, but as Alison wants more comments…


I was at the first night of Le Jeune Homme. Vasiliev was technically astonishing, such high jumps and such striking characterisation. A picture of desperation as he hangs in the air. Rojo was stern and domineering, goading her man in his agony. That said, I didn’t sense much chemistry between the two. It didn’t seem to matter though. The fans were in and the ovation was one of the most enthusiastic I have heard. Vasiliev had so much energy he vaulted over the bed during his curtain call.


Alison McWhinney was a wonderfully seductive Sylph, mischievous whilst seducing James and heartbreaking at the end. Aitor Arrieta was mightily impressive as James, a very fine dancer indeed. I didn’t feel entirely engaged with him emotionally, but that might be more to do with the production than anything else. Henry Dowden stood out for me also as Gurn. The show, however, was well and truly stolen by Stina Quagebeur’s Madge. Gloriously evil and funny. I had reservations after hearing mixed reviews of other casts, but this cast was superb and I would highly recommend them. Clement Crisp seems to agree!


Overall, a very enjoyable evening. Interesting to see how French ballet changed in the just over 100 years between the premiers of the two pieces in Paris (allowing for the fact that La Sylphide is the Bournonville production, of course).

 

I was left thinking about endings. I felt both pieces built up to powerful dramatic climaxes, only for the tension to be released by an (inadvertently?) comic inversion. It must be so difficult to find effective endings for such pieces. Did anybody else feel similarly?

 

Edited by Saodan
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