The Royal Ballet: Giselle, January-March 2018

[bridiem]

2 minutes ago, Sharon said:

I did go to the escalator during the interval, I just didn't have the nerve to approach, what looked like a large group of friends chatting, to introduce myself, I sort of hesitated and then left. Maybe I'll be brave enough next time..😚

 

I'm so sorry Sharon but I do understand - I nearly chickened out myself as I came down the escalator! But it was good to meet, even if only briefly, some people who until now have only been names on the screen.

[Sim]

The slippages happened during La Sylphide. They had to bring the curtain down, clean the stage then start Act 2_again. The dry ice had gone wrong and left a slippery film on the floor!

 

I agree with what posters have said about it being churlish to mention Ball's fall in S B.  I was also there and he simply ran onstage with such excitement that he simply slipped over, got back up and continued as if nothing had happened.  In Giselle his slight stumble was so small that many people wouldn't have noticed.  Again, he just continued.  Neither incident had any impact at all on the quality of his performance.

 

I have seen the best of the best stumble and fall.  With the physical efforts and risks these wonderful dancers take for our pleasure, year after year, I am surprised it doesn't happen much more often....which is a testament to their hard work, fitness, professionalism and artistry.

[RobR]

Just seen Laura Morera and thought she was terrific as Giselle 

[Nina G.]

I have seen Tamara Rojo make a terrible slip and fall, remaining a few seconds down on stage, I have seen Carlos Acosta drop Marianella Nunez in "Fille" during that famous one-handed lift, I have seen so many of the greats slip, trip, fall, stumble,  etc. it's not even worth mentioning. What matters is how they carry on as if nothing has happened and I feel strongly a tiny mishap or a bit of initial nervousness should not be highlighted when reviewing a dancer's performance. It is of no importance.

[Sharon]

10 minutes ago, bridiem said:

 

I'm so sorry Sharon but I do understand - I nearly chickened out myself as I came down the escalator! But it was good to meet, even if only briefly, some people who until now have only been names on the screen.

Thanks Bridiem, on top of that, I had said last week that I would wear a brown jumper and when it came to Sat I didn't want to, but I made myself wear it so I could be easily recognised - but then I didn't have the nerve to approach you all. What a dope🙄🙄🙄

[Sharon]

2 minutes ago, Nina G. said:

I have seen Tamara Rojo make a terrible slip and fall, remaining a few seconds down on stage, I have seen Carlos Acosta drop Marianella Nunez in "Fille" during that famous one-handed lift, I have seen so many of the greats slip, trip, fall, stumble,  etc. it's not even worth mentioning. What matters is how they carry on as if nothing has happened and I feel strongly a tiny mishap or a bit of initial nervousness should not be highlighted when reviewing a dancer's performance. It is of no importance.

Especially as previously mentioned, Nagdhi & Ball had not danced this in front of an audience before. The enormity of the occasion - Giselle for goodness sake, and your debut. That there was only a Very slight stumble on the big jete landing - in the whole ballet - is proof of the enormous talent of these special young dancers.

[Nina G.]

52 minutes ago, Sharon said:

Is there no review for Nagdhi & Ball?

 

The Telegraph (Mark Monahan) and the Guardian (Judith Mackrell)  gave column space to the Hayward/Campbell cast so I doubt they'd be that generous giving the Naghdi/Ball cast column space too. Jann Parry also reviewed the Hayward/Campbell cast. Perhaps a Naghdi/Ball review will appear in one of the weekend papers?  

 

Would be great if the critics could alternate publishing a cast review whenever they dance the same role.

 

(after all we got plenty of audience reviews here on the Forum, no need to allocate column space  ).

[Nina G.]

34 minutes ago, Sharon said:

Especially as previously mentioned, Nagdhi & Ball had not danced this in front of an audience before. The enormity of the occasion - Giselle for goodness sake, and your debut. That there was only a Very slight stumble on the big jete landing - in the whole ballet - is proof of the enormous talent of these special young dancers.

 

The more I admired them, to have to dance such an important debut without much of a practice run; at least the Hayward/Campbell cast got two audience runs (the General and a School's Matinee) before dancing their debut, and Campbell is already a very experienced dancer compared to young Matthew Ball. 

[alison]

1 hour ago, Sharon said:

Yes I agree - why is that do you think?

 

We discussed that above - or maybe on the previous page by now, I can't keep track.

 

The trouble is, in the 21st century everyone seems to want everything now.  Not all "publications" work like that: if you look at the links page regularly you'll see that some of them regularly don't emerge for some days after the event.

 

1 hour ago, Sim said:

The slippages happened during La Sylphide. They had to bring the curtain down, clean the stage then start Act 2_again. The dry ice had gone wrong and left a slippery film on the floor!

 

I'd forgotten that one - but then, I wasn't thinking that far back.

[Shya100]

18 minutes ago, Nina G. said:

 

The more I admired them, to have to dance such an important debut without much of a practice run; at least the Hayward/Campbell cast got two audience runs (the General and a School's Matinee) before dancing their debut, and Campbell is already a very experienced dancer compared to young Matthew Ball. 

 

He is indeed and has time to grow and develop like us all. I find the often schism in attitude of Hayward and Naghdi unpalatable. We should, be grateful for such wonderful young dancers and hopeful that their careers be long and healthy. 

 

Edited February 13, 2018 by Shya100

[SMballet]

I just want to say a heartfelt thank you to all of you who have taken the time to comment, giving us such lovely impressionistic detail, about the performances you have watched. But even the briefer comments are wonderful, as they give the rest of us poor souls who couldnt be there in person, a taste of what it was like. I am so glad that I found this forum last year, I learn so much from all of you, and I just want to take this moment to thank you. Especially those of you who are the founders and moderators. I know that sometimes there is disagreement amongst some posters, but, on the whole, I think this is such a wonderful online community, one of the best places on the web!.

Edited February 13, 2018 by SMballet

[bridiem]

8 hours ago, Shya100 said:

 

He is indeed and has time to grow and develop like us all. I find the often schism in attitude of Hayward and Naghdi unpalatable. We should, be grateful for such wonderful young dancers and hopeful that their careers be long and healthy. 

 

 

I completely agree with your second sentence, Shya100l; but I see no ''schism in attitude' in respect of Hayward and Naghdi. Some have a slight preference for one or the other (which is natural); many appreciate both equally.

[Fonty]

9 hours ago, RobR said:

Just seen Laura Morera and thought she was terrific as Giselle 

 

Did anyone else see Morera?  Or did everyone use up their money seeing the debut performances?

[JohnS]

9 hours ago, RobR said:

Just seen Laura Morera and thought she was terrific as Giselle 

 

I quite agree RobR.  Laura is such a fabulous dancer bringing a wealth of experience to her performances and wonderful technique.  I hadn't seen Laura's Giselle and am so pleased to have been there last night.  Her mad scene was truly gripping and it struck me that here was a dancer who has performed dramatic roles like her astonishing Anastasia.  We really are fortunate to have so many Giselles who demand our attention!

 

It was another performance where all the Wilis were commanding, led by Itziar Mendizabal attended by Olivia Cowley and Lara Turk.  In some performances I've occasionally wanted to cut to the chase - can't we get Giselle on stage and get on with things?  But the Wilis have danced extraordinarily well and have massively enhanced recent performances.

 

It was good to see a different Pas de Six, led by Elizabeth Harrod and Tristan Dyer with Leticia Stock, Gemma Pitchley-Gale, Joseph Sissens and David Yudes.  There is such depth of talent in the Royal Ballet.

 

Kristen McNally was again Berthe - it would be wonderful to have her reflections on the last three Giselles as she has been a constant.  I enjoyed Fumi Kaneko's Bathilde.

 

Bennet Gartside was Hilarion - for me the strongest Hilarion.  Just one vignette but does anyone else quite capture that terror and mad dash to escape the Wilis at the start of Act 2?  A tremendous performance throughout.

 

Nehemiah Kish was Albrecht and he was much more engaging than what I recall from the previous Giselle run of performances when he partnered Akane.  He may not be the most dynamic Albrecht but he proved to be a dependable partner for Laura's must see Giselle.

[Shya100]

1 hour ago, bridiem said:

 

I completely agree with your second sentence, Shya100l; but I see no ''schism in attitude' in respect of Hayward and Naghdi. Some have a slight preference for one or the other (which is natural); many appreciate both equally.

 

I see it often and mainly an attitude of bigging up latter against the former. I get it though. Hayward seems to get the more publicity, probably because she was in the Christmas show last year, and perhaps causes resentment. I see no real point to it though as it isn't a competitive sport and the reality is one or both could be lost to injury in a nanosecond. So I am just great full the RB are doing well.

 

[Lizbie1]

40 minutes ago, Shya100 said:

 

I see it often and mainly an attitude of bigging up latter against the former. I get it though. Hayward seems to get the more publicity, probably because she was in the Christmas show last year, and perhaps causes resentment. I see no real point to it though as it isn't a competitive sport and the reality is one or both could be lost to injury in a nanosecond. So I am just great full the RB are doing well.

 

 

Completely agree on all fronts!  While on this occasion I was more moved by Hayward's Giselle (and, ridiculously, I find myself reluctant to express even so evidently subjective an opinion), I loved both of them and would happily see either again; seeing them both as Odette/Odile, if that ever happens, the situation could easily be reversed, and in truth I expect it to be!  The fact is that they are both wonderful dancers, though very different, and we are exceptionally lucky to have both of them at the same time. I just want to treasure them both while they're fit and well.

[alison]

51 minutes ago, Shya100 said:

 

I see it often and mainly an attitude of bigging up latter against the former.

 

 

Well, I wouldn't really go as far as to call it a schism, and I don't see it that often, but it's definitely there.  For the most part - but certainly not always - from those who favour Naghdi, in my experience.

 

1 hour ago, Fonty said:

 

Did anyone else see Morera?  Or did everyone use up their money seeing the debut performances?

 

I'm seeing her second one.  It was too close to the others for me to book the first one.  I missed her last time because she was injured, I think, so don't think I've ever seen her.

[Sim]

Shya, I understand what you mean, but I don't think that Yasmine Naghdi needs 'bigging up', or that she is 'bigged up' by forum posters on here.  I think perhaps what they are doing is just musing about why Hayward seems to get more publicity and exposure than Yasmine does, even though they are both as wonderful as each other in their different ways.

 

I think it is great to have them both as principals at the same time.  Something/someone for everyone.  Unlike Lizbie, I was more moved by the Naghdi/Ball performance, but loved Friday night for different reasons.  Between both pairs, every aspect of this ballet was covered beautifully.

[Sim]

Regarding Morera's Giselle, I am missing this time but loved her in it last time.  The reason that I didn't buy tickets this time is her partner.  I didn't really like him in the last run, and couldn't afford to risk this again.  I say this because last time, everyone was telling me to see Akane as Giselle.  I managed to get a ticket for the final show, went along, and was distinctly underwhelmed all round.  When I saw her last week with Ben Ella, I was blown away by her.  Just shows the difference a partner can make.  Everyone else saw the wonderful Giselle in Akane last time, so it must just have been me....but I am so glad I am now on the same hymn sheet as the others!

[aliceinwoolfland]

I have to agree re Kish. A bit disappointed that he’s been paired with Naghdi for Swan Lake.

[penelopesimpson]

1 hour ago, Lizbie1 said:

 

Completely agree on all fronts!  While on this occasion I was more moved by Hayward's Giselle (and, ridiculously, I find myself reluctant to express even so evidently subjective an opinion), I loved both of them and would happily see either again; seeing them both as Odette/Odile, if that ever happens, the situation could easily be reversed, and in truth I expect it to be!  The fact is that they are both wonderful dancers, though very different, and we are exceptionally lucky to have both of them at the same time. I just want to treasure them both while they're fit and well.

I don't think it's so much comparisons, more attempting to analyse specific performers and why they affect us so differently.  Francesca has always done it for me since I first saw her in rhapsody and marked her out as the successor to Cojocaru.  It isn't that she's a better dancer - I don't have enough technical knowlege to make any kind of judgement - but she moves me emotionally.  Some dancers do,  some don't and I think it is almost entirely a personal thing.  Whilst I adore Marianela in everything she does, she has never moved me, ditto Sarah Lamb.  

[Coated]

This forum isn't the Holy Roman Church, so talk of 'schism' is perhaps a tad hyperbolic. If I needed to make an analogy of the slight pecking going on some times, I'd go for mother hens worried that their imaginary chicks don't get the choicest grains.

 

Sticking with analogies, the Morera Giselle was like a lovely glass of vintage red after two effervescent champagne cocktails. 

 

Morera made me notice the beauty of the choreography. There is something in the way she dances that regularly makes me think "what a brilliant sequence of steps perfectly matching the music".

 

Her mad scene was quite intense, and at some point she showed what looked like real anger, which I thought worked really well to flesh out the character and her agony.

 

I think it's fair to say that Kish needs to work further on getting his stamina back. He was running out of steam very quickly, but he made his ballerina look good in every lift or interaction, and swung his cape admirably (other Albrechts, please arrange a cape swinging session with him) so overall there was a fair bit to like in his performance. (I will admit that he is not one of my imaginary chicks).

 

The pd6 wasn't as glorious as it can be and I thought the combination of Harrods and Dyer didn't work as well as it might sound on paper. I did enjoy her solo and it's lovely to have her back on stage. Yudes and Sissons were a delight as well, and at times near perfectly synchronised.

 

That leaves Myrtha, attendants and the corps, and what can I say that hasn't been said before about the corps? I feel they need a special billing for this ballet, and since listing their names isn't a workable option for the cast list, they should at least be billed as  'the marvellous, the  amazing, the one and only  CdB of the RB'. Or perhaps something a little more subtle.

 

Mendizabel's Myrtha is proper fierce and she really commands the stage. She also seems to have escaped the Halloween make-up department and her subtle make up works so much better for me. She was well paired with Cowley and Turk as attendance and I thought Olivia Cowleys entrance as Moyna was particularly splendid (Yes, Cowley is one of my imaginary chicks).

 

 

[Sim]

19 hours ago, jmhopton said:

 Actually I feel just the opposite. I know what LinM means about wanting time to digest individual performances and I can sympathize with this but from a financial point of view it was great for me to see 2 performances for my overnight stay and 200 mile train journey. I suppose it doesn't have to be debuts. I seem to remember a Vadim Sleeping Beauty one night and Frankie's debut the next day was also very helpful. Anytime where I can see 2 performances for my trip is a red letter occasion for me!  Already planning (hopefully) for Yasmine's Swan Lake matinee on May 28th with Osipova's performance in the evening though it would have been more helpful if this wasn't a Bank Holiday Monday!

What would have been really helpful would have been if Yasmine and Matthew had been cast together, in the same performance.....

[Indigo]

1 hour ago, aliceinwoolfland said:

I have to agree re Kish. A bit disappointed that he’s been paired with Naghdi for Swan Lake.

 

I remember seeing Kish in the 2012(?) Swan Lake cinema relay, dancing with Zenaida Yanowsky, plus Gary Avis as Von Rothbart. As I've posted elsewhere, the whole performance blew me away & triggered my love of ballet, so I have a bit of a soft spot for Nehemiah Kish.  (Though to borrow Coated's analogy, Kish is not one of my 'chicks'!)   So personally, I'm looking forward to seeing Kish dance with Yasmine Naghdi & I hope he's making a full recovery/comeback from his long injury. Though I also have to admit to some disappointment that Yasmine was not partnered with Matthew Ball.

 

I'm booked to see Laura Morera & Nehemiah Kish later in the Giselle run, so the posts above have built up the anticipation - thank you. I've not see either in Giselle before, but I love Laura & I really enjoyed Kish's performance as The Creature in Frankenstein & a friend who saw him in Sylvia was impressed with his performance/acting as Orion. I'm also booked to see Natalia Osipova & David Hallberg's Giselle, plus a few casts in The Winter's Tale, so lots to look forward to over the coming month! 

 

[JohnS]

5 hours ago, Coated said:

[Laura's] mad scene was quite intense, and at some point she showed what looked like real anger, which I thought worked really well to flesh out the character and her agony.

 

The pd6 wasn't as glorious as it can be and I thought the combination of Harrods and Dyer didn't work as well as it might sound on paper. I did enjoy her solo and it's lovely to have her back on stage. Yudes and Sissons were a delight as well, and at times near perfectly synchronised.

 

 

Absolutely Coated - I thought there was real rage and anguish in the mad scene which for a moment or two brought to mind Laura's Anastasia.  From the front row of the Orchestra Stalls it was spine chilling.

 

I agree there have been more sparkling Pd6s but there have also been weaker performances.  Overall I enjoyed the six and as you say Sissons and Yudes were very impressive.

[LinMM]

Wow this thread moves so fast so am a bit behind with these comments.

First Aliceinwoolfland thanks so much for the Hayward/Nagdhi video clips....clever you ...how did you do that!! But lovely to watch them together like that.

J Hopton ...yes I do understand that people travelling long distances might have appreciated these debuts being together and have to plan how best to get the most out of London visits. The two people sitting next to me had come down all the way from Edinburgh to see both in their debuts!! Way way back in the past I was at the ROH often several nights a week to see different casts and found it all very exciting but these days ....and because I can I suppose ...prefer to have the space between performances so can come to each performance fairly fresh. Precisely because these were debuts I really would have liked more than a day in between!! 

Sharon ...sorry not to get to see you after all I even asked" is anyone called Sharon here" So hope to meet another time.....and others from Forum who had hoped to meet ......In the end I was a bit rushed anyway at the interval  as only just got to theatre in time so was desperate for loo by the interval and by the time found where the water was and made way over it was virtually time to go back to seat! I had friends up in the Amphi that I was also trying to get up to for a quick hello but missed them as well ( though we caught up today finally!) 

Edited February 14, 2018 by LinMM

[Shya100]

12 hours ago, Sim said:

Shya, I understand what you mean, but I don't think that Yasmine Naghdi needs 'bigging up', or that she is 'bigged up' by forum posters on here.  I think perhaps what they are doing is just musing about why Hayward seems to get more publicity and exposure than Yasmine does, even though they are both as wonderful as each other in their different ways.

 

It is no philosophical thinking or deep thinking but my only answer to that is: just the way it is at the moment. Media attach to certain characters. Does not make them more talented or anymore worthy. 

 

11 hours ago, Coated said:

This forum isn't the Holy Roman Church, so talk of 'schism' is perhaps a tad hyperbolic. If I needed to make an analogy of the slight pecking going on some times, I'd go for mother hens worried that their imaginary chicks don't get the choicest grains.

 

 

Well that tragedy apart. I meant it in all down to earth but admittedly elaborate vocabulary as a split. But yes that is very good description of what I see with Naghdi sometimes. I don't really see why. She is doing phenomenally and good for her. There are far more who get very little publicity etc at all. I am terribly fond of Takada for example who is given far less exposure and Stix Burnell who is joyous and others who are often overlooked.

Edited February 14, 2018 by Shya100

[Nina G.]

The Royal Ballet has four British, White Lodge trained, Principals: Edward Watson (made Principal in 2005), Lauren Cuthbertson (made Principal in 2008), Francesca Hayward (made Principal in 2016), Yasmine Naghdi (made Principal in 2017). There was a gap of eight years between the promotion of the last British, White Lodge trained Principal and the next one. Much has been written about it in the press asking "Why so few"? Francesca Hayward and Yasmine Naghdi rightly got press coverage when they were promoted to Principal, and their British training was rightly celebrated. Akane Takada, when promoted to Principal in 2016 was a little overshadowed press wise because of Hayward's simultaneous promotion. On the other hand Takada got press and tv coverage in her home country Japan, so did Hirano and they often appear in Japanese dance magazines. Japan is rightly proud of their Royal Ballet stars. 

 

As Brits we have every right to be proud of our home grown athletes, dancers, actors, singers,..., and their achievements should be highlighted and celebrated in order to encourage a new and younger generation of British talent to succeed. British athletes winning at the Olympics became celebrated sports heroes, as were our British tennis players Greg Rusedski, Tim Henman and Andy Murray.

That is not to say there are no other great non-British athletes, dancers, actors, singers. I also love Fumi Kaneko (but she has been injured quite a lot so I haven't been able to see all that much of her), and Beatriz Stix-Brunell (who was fully trusted into the limelight very early on in her career), as well as several other youngsters in the lower ranks.

 

What sets RB Principals Yasmine Naghdi and Francesca Hayward apart besides their exceptional acting talent, individual dance style and technic, is the fact that they are homegrown talent and that, considering the scarcity of British trained dancers reaching the rank of Principal at the RB, is one of the many reasons why. We now have three out of eight female RB Principals who are British, one out of eight male RB Principals (that makes 25% of Principals who are British). Out of how many children starting their training at the many ballet schools in Britain will succeed in becoming a Principal in the Royal Company? Over a period of thirteen years Britain produced four Royal Ballet Principals. In comparison, Wimbledon produced (in that same time frame) 1 British male winner, no female winner at all. 

 

Is all of this important? Yes? No? It depends on your perspective. To some it is of no importance at all, to others it is. Personally I love it when the Brits succeed in sports, in the arts, in ballet, in fashion,...  but that is not to say I do not admire or appreciate non-British talent. 

[Fonty]

Speaking personally, I don't remember Cuthbertson getting that much publicity in the general media, for all that she is a home grown talent.  

[zxDaveM]

5 minutes ago, Fonty said:

Speaking personally, I don't remember Cuthbertson getting that much publicity in the general media, for all that she is a home grown talent.  

 

I think Darcey was still around then wasn't she -  so there probably wasn't the 'dearth of British talent' doing the rounds...

[penelopesimpson]

17 minutes ago, Fonty said:

Speaking personally, I don't remember Cuthbertson getting that much publicity in the general media, for all that she is a home grown talent.  

No, she didn't.  I made this point a while back but wondered if it coincided with her period of injury.

[Nina G.]

23 minutes ago, penelopesimpson said:

No, she didn't.  I made this point a while back but wondered if it coincided with her period of injury.

I think that may be the reason why. Wasn't she twice absent for a great length of time for reasons of injury and/or illness. I recall her return to the stage after her illness was much celebrated and covered in the press.

 

I assume another reason why the two youngest Principals do get a bit more coverage is that the ROH nowadays does a lot of Outreach work , ROH encourages new families to attend (via the Taylor Family Foundation) with the purpose of cultivating a new generation of ballet goers, there is now also the facility of social media interaction, there is the Student Ambassador programme, all this also to encourage youngsters to take up ballet training. 

[RuthE]

12 minutes ago, Nina G. said:

I think that may be the reason why. Wasn't she twice absent for a great length of time for reasons of injury and/or illness. I recall her return to the stage after her illness was much celebrated and covered in the press.

 

Three times. Once with illness, just after her promotion; then twice with injuries, the first of which had her out for more than a year (spring 2012, returning autumn 2013 as Juliet) and the second when she became injured in Manon on tour in summer 2014 and was out from the start of the 2014/15 season until the tail end of that season when I think her first show back was Song of the Earth.