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Nina G.

The Royal Ballet: Giselle, January-March 2018

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2 hours ago, Nina G. said:

 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),

 

We're singing from the same song sheet with those two, if they don't get a Giselle next time around I'll be mightily peeved.

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That would, of course, involve having to remove some of the established ballerinas from the part.  I wouldn't want to start a debate on that one ...

 

3 hours ago, zxDaveM said:

 

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

 

Darcey's official retirement was in 2007 ...

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28 minutes ago, alison said:

That would, of course, involve having to remove some of the established ballerinas from the part.  I wouldn't want to start a debate on that one ...

 

 

I was thinking along the lines, longer run, more casts.

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Mm, but we already have at least 8 Giselles.  Adding another 2 would mean a minimum of 20 performances (one would hope!).  Not that I'd mind that particularly, but I've already had to cut out a few casts from the current run and that was painful enough.

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28 minutes ago, MAB said:

 

I was thinking along the lines, longer run, more casts.

 

The "problem" is that there is now a considerable amount of talent lower down the principal rank. I remember those years at the RB that there was not that much to be excited about in the First Soloist/Soloist rank or in the Corps de ballet. One would go to the RB to only see a particular principal full stop and I would book a performance solely to see Alina Cojocaru dancing with Kobborg, or Tamara with Acosta or Guillem with Cope etc., not to see a particular Soloist or First Soloist. However I have done so in the last few of years.

 

Whatever talent there was in the lower ranks in the "olden days" they were made to wait until they reached the right rank and deserved /earned the right to dance a particular role. This too has changed now.

 

Mr O'Hare cannot possibly give a go to all of his most talented dancers below the principal rank whenever they perform a ballet. Patience is a virtue. There are after all his principals who need to be kept happy and busy too.

Edited by Nina G.
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I must say that as I had more or less given up on the RB in the mid 90s because I was always being disappointed and because I had never seen the company in its previous golden age I have never seen the company looked so good!

 

I wish the costs associated with attending were not so high or I would be there more often!

 

The same goes for NB and BRB too.  I am not as familiar with ENB any more.

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I agree with something you said in an earlier post Jan that all the Ballet Companies are looking pretty okay at the moment.

 

I think there must have been considerable improvement in training overall in recent years.

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The Sunday Times has a review of the Naghdi/Ball and Hayward/Campbell Giselle today, plus the first night of Winter's Tale, all very favourable to Matthew Ball :)

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Shame about the paywall....I will have to ask my neighbour to borrow her copy!  I'm very pleased that one critic has bothered to report on this Giselle.  More fool the others; they missed a real treat.  

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Presumably it's in today's Links?  And as I said, there were other critics there, so more reviews may be forthcoming in due course.

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9 minutes ago, alison said:

Presumably it's in today's Links?  And as I said, there were other critics there, so more reviews may be forthcoming in due course.

 

It didn't show up in time - it will be in tomorrow.

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I'm not sure how but I can often see Times/FT articles on the Ballet Association news link and a google search for example for a Clement Crisp review of a named ballet often gives a result.  I've no idea if this is permissible or if the Forum would prefer not to publicise such access.

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We link to reviews/features in the Times.  You have to register but registration entitles you to read 2 free articles a week - usually more than enough to read the dance stuff.

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That's good ...I've been looking for a review of the Naghdi/Ball Giselle all week and there has been none! So look forward to reading. 

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We'll have driven almost into Newhaven to get this week's Sunday times lol but have now read....in the Culture section...slightly more favourable to Hayward on this occasion but Ball does come off well. Not sure if anything more meant behind this comment on Campbell "He kept his fine dancing entirely in the Romantic style- no excess." 

 

I did think Mr.Ball appeared to "suffer" more in the role of Albrecht in the second Act ...as he seemed to exert himself more in his dancing! 

 

However Mr. Campbell did a wonderfully expressive step sideways into arabesque in second making the most and showing the beauty of that particular movement.... Balls leg may have been a tad higher but the movement was more rushed....just something I noticed.

But still remembering both performances equally fondly a week later!

 

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Sometimes, some more experienced dancers seem to have more time - or are able to create an illusion of having more time. This must be very difficult to achieve in an adrenalin-fuelled debut.

 

Thinking back to Two Pigeons 2 years ago. I remember Matthew Ball seemed to be rushing his steps rather in his first show. Second time out, it felt to me as if the steps had become much more a part of him and the necessary exertion less obvious. His second show was, I thought,  marvellous in every respect.

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