HappyTurk Posted March 5, 2018 Share Posted March 5, 2018 For those who saw both performances of Ball, in what ways did he improve the second time around? Link to comment Share on other sites More sharing options...
MAB Posted March 6, 2018 Share Posted March 6, 2018 I felt he looked more relaxed as I detected a certain tenseness at times on his debut, I imagine the hurried circumstances of his second crack at the role gave him no tine for nerves. 8 Link to comment Share on other sites More sharing options...
capybara Posted March 6, 2018 Share Posted March 6, 2018 I felt that Matthew Ball was more 'in role' the second time round. Very good characterisation. 6 Link to comment Share on other sites More sharing options...
Timmie Posted March 8, 2018 Share Posted March 8, 2018 Do we know who Myrtha is going to be tomorrow? I don't think anyone has mentioned this in the Osipova/Hallberg/Ball reviews above. 1 Link to comment Share on other sites More sharing options...
alison Posted March 8, 2018 Share Posted March 8, 2018 I assume it will be Claire Calvert again. 2 Link to comment Share on other sites More sharing options...
bridiem Posted March 8, 2018 Share Posted March 8, 2018 3 minutes ago, Timmie said: Do we know who Myrtha is going to be tomorrow? I don't think anyone has mentioned this in the Osipova/Hallberg/Ball reviews above. I don't know about tomorrow, but it was Claire Calvert last week. She was excellent, but unfortunately rather overshadowed by the unintentional casting drama of Act 2! 2 Link to comment Share on other sites More sharing options...
bangorballetboy Posted March 8, 2018 Share Posted March 8, 2018 5 minutes ago, Timmie said: Do we know who Myrtha is going to be tomorrow? I don't think anyone has mentioned this in the Osipova/Hallberg/Ball reviews above. It's Claire Calvert, according to her social media 1 Link to comment Share on other sites More sharing options...
Timmie Posted March 8, 2018 Share Posted March 8, 2018 (edited) Thanks all, I hopes it's CC, she is most excellent in everything I've seen her in . Edited March 8, 2018 by Timmie updated thanks from 'both' to 'all'... 4 Link to comment Share on other sites More sharing options...
Timmie Posted March 8, 2018 Share Posted March 8, 2018 1 minute ago, bangorballetboy said: It's Claire Calvert, according to her social media I must start using social media! 2 Link to comment Share on other sites More sharing options...
JohnS Posted March 10, 2018 Share Posted March 10, 2018 Last performance of the current run of Giselle with Natalia Osipova and Matthew Ball and a very enthusiastic audience culminating in a standing ovation with house lights up. Great to see Natalia and Matthew acknowledge the whole audience and take their final applause from both sides of the auditorium. Lovely also to see the entire corp de ballet receiving an individual white rose: the corp have been fabulous throughout the run of performances and add so much to the ballet. Olivia Cowley’s Bathilde has been a highlight of this run and her characterisation is splendidly sulphuric, immediately passing Giselle’s proffered bouquet to one of her ladies in waiting without so much as a glance - you know who will wear the trousers when she eventually marries Albrecht. And Olivia was back for Act 2 substituting for Anna Rose O’Sullivan as Moyna, a very different role which she dances beautifully yet still has that steel when it comes to dealing with Hilarion and Albrecht. Beatriz Stix-Brunel was Zulme and she and Olivia were ideally matched. I liked Claire Calvert’s Myrtha, particularly as Act 2 develops. The solo is very exposed and I found it a little heavy; we’ve certainly ‘heard’ quieter Myrthas. The Pas de Six were a delight, Yuhui Choe and James Hay leading with such elegance. I wasn't quite sure about Meaghan Grace Hinkis and Calvin Richardson as a couple, purely because of the height difference which seemed such a contrast to the other couples. Isabella Gasparini and Joseph Sissens were the final pair. Thomas Whitehead was Hilarion and Elizabeth McGorian Berthe, both good but I think we’ve seen stronger characterisations in other performances. I very much enjoyed Matthew's Albrecht. I’d been impressed in his debut performance with Yasmine Naghdi and I do like his overall characterisation, particularly when he realises his responsibility for the impending tragedy and throughout the whole of Act 2. I find his opening a bit tentative as it’s not clear to me how aristocratic he wishes to be. The closing was wonderfully done with Matthew absolutely holding the stage and the curtain falling to silence before the thunderous applause. We know how brilliant Natalia’s Giselle is and again she triumphed. Her jumps are fabulous and the mad scene gripping; hearing her breathing is spine chilling. Olivia Cowley has commented on twitter how incredible she found the mad scene. Natalia is so ethereal in Act 2 and we are fortunate to be able to see her Giselle live and have a fabulous performance captured on DVD. I was more moved by a performance I saw last run because it was so extraordinary and set such a standard. I also thought there have been other performances where there was better symmetry in the shared jumps and where the arc of those lifts from pointe to pointe seemed more expansive and fully complemented by the music. But the Natalia/Matthew partnership made for a fabulous evening and I look forward very much to seeing their Swan Lake in the summer. I have enjoyed enormously all the performances I’ve seen and I’ll be keen to look back on the thread when home and see what others have made of this run of Giselles. 10 Link to comment Share on other sites More sharing options...
Bruce Wall Posted March 10, 2018 Share Posted March 10, 2018 (edited) Good review, John. I've commented on both of the leads before so won't repetitively witter on again. I thought this performance both seductive and comely.and James Hay's solo entirely magnetic. Gasparini's (who I believe danced with the wonderful Calvin Richardson - such placement) feet were as clarion as the sunlit luminosity of her ever beaming smile. Both are things of keen delectation. Question: Is it my imagination - or did anyone else notice that Anna Rose O'Sullivan was in fact in the Act II corps last night - having been replaced as Moyna? Am I mad? I really only noticed this when the lights came up and those capacious bouquets were presented to Osipvoa. At that point O'Sullivan was standing in the front wilis rank immediately behind Matthew Ball. I thought this had been the case in the last performance too ... but checked with the person standing next to me last night who agreed as to her presence. (This is now confirmed for me by the glowing photo on BBB's much appreciated Instagram account.) Do you think this may have been because there was a shortage of available corps girls and she was - I assume - the last promoted? Just asking. Don't they usually put an apprentice or graduating student on in such circumstances? Anyone know? You don't usually see - I think - the dancer performing Bathilde dancing a soloist role in the second act of Giselle do you? Bless them both for answering the call. Hugely appreciated. Edited March 10, 2018 by Bruce Wall 2 Link to comment Share on other sites More sharing options...
Tony Newcombe Posted March 10, 2018 Share Posted March 10, 2018 Bruce, that dancer could have been Charlotte Tonkinson. Her photograph shows a resemblance to Anna-Rose Link to comment Share on other sites More sharing options...
Bruce Wall Posted March 10, 2018 Share Posted March 10, 2018 (edited) 47 minutes ago, Tony Newcombe said: Bruce, that dancer could have been Charlotte Tonkinson. Her photograph shows a resemblance to Anna-Rose Tony, in the photo on BBB's account ... it's listed as ARO'S. Don't know if that is of any help. Edited March 10, 2018 by Bruce Wall Link to comment Share on other sites More sharing options...
bangorballetboy Posted March 10, 2018 Share Posted March 10, 2018 Anna Rose O’Sullivan danced in the Wilis on both occasions on which she was replaced by Olivia Cowley as Moyna. It’s not unusual for Bathilde to appear again in the Wilis if she isn’t played by a (nominally) character dancer and this run (and IIRC before too) we’ve even seen Berthe in the Wilis. 2 Link to comment Share on other sites More sharing options...
bangorballetboy Posted March 10, 2018 Share Posted March 10, 2018 2 hours ago, JohnS said: Lovely also to see the entire corp de ballet receiving an individual white rose: the corp have been fabulous throughout the run of performances and add so much to the ballet. Roses from an audience member who thinks the corps are the real stars at the RB! 18 Link to comment Share on other sites More sharing options...
Timmie Posted March 10, 2018 Share Posted March 10, 2018 You are so very right BBB. When I saw the roses handed out I did think 'aha, I can guess who those are from'. A very nice touch indeed. Link to comment Share on other sites More sharing options...
Sim Posted March 10, 2018 Share Posted March 10, 2018 3 hours ago, Bruce Wall said: Good review, John. I've commented on both of the leads before so won't repetitively witter on again. I thought this performance both seductive and comely.and James Hay's solo entirely magnetic. Gasparini's (who I believe danced with the wonderful Calvin Richardson - such placement) feet were as clarion as the sunlit luminosity of her ever beaming smile. Both are things of keen delectation. Question: Is it my imagination - or did anyone else notice that Anna Rose O'Sullivan was in fact in the Act II corps last night - having been replaced as Moyna? Am I mad? I really only noticed this when the lights came up and those capacious bouquets were presented to Osipvoa. At that point O'Sullivan was standing in the front wilis rank immediately behind Matthew Ball. I thought this had been the case in the last performance too ... but checked with the person standing next to me last night who agreed as to her presence. (This is now confirmed for me by the glowing photo on BBB's much appreciated Instagram account.) Do you think this may have been because there was a shortage of available corps girls and she was - I assume - the last promoted? Just asking. Don't they usually put an apprentice or graduating student on in such circumstances? Anyone know? You don't usually see - I think - the dancer performing Bathilde dancing a soloist role in the second act of Giselle do you? Bless them both for answering the call. Hugely appreciated. Gasparini was in fact dancing with Joseph Sissens. 3 Link to comment Share on other sites More sharing options...
Bruce Wall Posted March 10, 2018 Share Posted March 10, 2018 (edited) 3 minutes ago, Sim said: Gasparini was in fact dancing with Joseph Sissens. Thanks, Sim. You are always so kind in your corrections. I have a mass of work to do ... and was just following the casting sheet. Suppose I should know better As ever, bless you. Still, my comments about both dancers mentioned stand. The reality of their performances were sublime. Edited March 10, 2018 by Bruce Wall 3 Link to comment Share on other sites More sharing options...
capybara Posted March 10, 2018 Share Posted March 10, 2018 1 hour ago, bangorballetboy said: Roses from an audience member who thinks the corps are the real stars at the RB! That's a really lovely gesture BBB 4 Link to comment Share on other sites More sharing options...
Geoff Posted March 10, 2018 Share Posted March 10, 2018 4 hours ago, JohnS said: I liked Claire Calvert’s Myrtha, particularly as Act 2 develops. The solo is very exposed and I found it a little heavy; we’ve certainly ‘heard’ quieter Myrthas. But also louder. Not to be ungallant but it wasn't long ago that Precious Adams thumped her way through Myrtha at the Coliseum, yet this seemed not to impact at all on the highly positive comments she received for the role. Link to comment Share on other sites More sharing options...
capybara Posted March 10, 2018 Share Posted March 10, 2018 12 minutes ago, Geoff said: But also louder. Not to be ungallant but it wasn't long ago that Precious Adams thumped her way through Myrtha at the Coliseum, yet this seemed not to impact at all on the highly positive comments she received for the role. Geoff, it wasn't Precious Adams (I wish that she had had a shot at Myrtha!). It was Michaela DePrince, a second soloist with Dutch National Ballet, who guested with ENB last year (2017) when they danced Mary Skeaping's Giselle. And, yes, she was a bit on the noisy side! 4 Link to comment Share on other sites More sharing options...
Sim Posted March 10, 2018 Share Posted March 10, 2018 It was a very special night last night, and a truly memorable way to end what has been a fascinating and lovely run of Giselle. No time to write much at the moment, but I just had to say how much I have enjoyed the whole run. A very special mention not only to all the 'lead' dancers, but the corps de ballet, as always in the RB's Giselle, just couldn't have been more perfect. Show after show, even the final one, they look as if they have just arisen from their graves for the first time, still as fresh and full of energy as on the opening night. They are truly to be admired, respected and thanked, and BBB's gesture every run of Giselle recognises this and is very much appreciated. I noticed at the end of the performance last night that Natalia was in tears, and cried through most of her curtain calls. It must have been such a mixture of emotions for her, and I think that many of us cried with her, whether externally or internally. In the absence of the noble David Hallberg, she was very lucky to have Matthew Ball as her Albrecht. They had so little rehearsal time, but you would never know it. As with Yasmine Naghdi, Ball seems to have a natural affinity with Osipova, and his partnering of her was tender and heartfelt, as was his emotional pain at what he had done, and the realisation that he had lost her forever. He is a true danseur noble. And oh, that wonderful Act 2 lift again. That alone choked me up!! Osipova's Giselle is a very special thing to witness, and what is so wonderful about her is that no two performances are ever the same, but each one has something superb to offer. I never tire of watching her in what is, for me, her signature role. Thank you to the whole company for brightening up what has been very cold, dark weather. The two hours spent in the company of these superb artists make the sun shine for every performance. I always really miss Giselle when the run finishes, so I am already looking forward to the next one! 20 Link to comment Share on other sites More sharing options...
Geoff Posted March 10, 2018 Share Posted March 10, 2018 46 minutes ago, capybara said: Geoff, it wasn't Precious Adams (I wish that she had had a shot at Myrtha!). It was Michaela DePrince, a second soloist with Dutch National Ballet, who guested with ENB last year (2017) when they danced Mary Skeaping's Giselle. And, yes, she was a bit on the noisy side! How embarrassing, yes of course (I am still rather in a daze after last night). Apologies all round. 3 Link to comment Share on other sites More sharing options...
Geoff Posted March 10, 2018 Share Posted March 10, 2018 39 minutes ago, Sim said: I noticed at the end of the performance last night that Natalia was in tears, and cried through most of her curtain calls. Yes, and no doubt many of us as well. Two other observations of her during those curtain calls: she gave Matthew Ball a well deserved kiss on the lips. And she wanted to applaud her conductor, although there are apparently "rules" against this. By the way, those who want to know more about this arcane subject can read the scratchy comments here (the sight of Osipova wanting to applaud Kessels wildly and then holding herself back was very touching): http://slippedisc.com/2017/12/covent-garden-to-singers-do-not-applaud-each-other/ 3 Link to comment Share on other sites More sharing options...
Lizbie1 Posted March 10, 2018 Share Posted March 10, 2018 34 minutes ago, Sim said: I always really miss Giselle when the run finishes, so I am already looking forward to the next one! I know what you mean - I think I could watch Giselle every day and still want more! 8 Link to comment Share on other sites More sharing options...
Fonty Posted March 10, 2018 Share Posted March 10, 2018 2 hours ago, Geoff said: By the way, those who want to know more about this arcane subject can read the scratchy comments here (the sight of Osipova wanting to applaud Kessels wildly and then holding herself back was very touching): http://slippedisc.com/2017/12/covent-garden-to-singers-do-not-applaud-each-other/ Some of those comments made me laugh out loud. I agree with the person commenting about bringing back the wigged flunkies to hand out the bouquets. Why did they get rid of them? Curtain calls have never been the same since they did. 2 Link to comment Share on other sites More sharing options...
capybara Posted March 10, 2018 Share Posted March 10, 2018 I agree that it's been a wonderful season of Giselle performances. I will take away fond personal memories of: two astonishing Giselles (Takada and Osipova) a peerless Albrecht (Muntagirov) some accomplished debuts in the three leading roles (Naghdi, Ball, Hayward, Ella, Kaneko) some excellent pas de six line-ups the celebration of Nunez's stellar 20 years with the RB (and Muntagirov giving her his own bouquet) the once-in-a-lifetime moment when Matthew Ball danced an unexpected Act 2 Albrecht with Osipova the corps, the corps, the corps Until next time when the debutantes will reprise and develop their interpretations and more young dancers will get their opportunity to shine in roles which seem made for them. 17 Link to comment Share on other sites More sharing options...
Don Q Fan Posted March 10, 2018 Share Posted March 10, 2018 On 11/02/2018 at 20:12, Nina G. said: THANK YOU so much Don Q Fan for these lovely memorable photos! I was sitting too far away to take photos during the curtain call. The photo with flowers was the very first batch the ushers delivered on stage, so many more followed. She clearly has many adoring fans. I picked up the courage to go and meet Yasmine Naghdi at the Stage Door, we did not have to wait all that long, and she was still in her Giselle hairdo and in full make-up. She must have been exhausted but she spent time talking to everyone waiting at the Stage Door to meet her, she patiently posed with many who asked to have her photo taken, and signed the programmes. She is so friendly and kind, first time I met her personally and able to have a brief chat with her, and I was so moved. You're welcome, glad you like. So pleased you met Yasmine after she's lovely with fans. Sadly I didn't wait at the door yesterday as I dashed over to the V&A. 1 Link to comment Share on other sites More sharing options...
Don Q Fan Posted March 10, 2018 Share Posted March 10, 2018 Apologies for the previous post it seems to have stored in my phone and only just posted now drrrr?! Yes Osipova was definitely choked up after the show, I will post some photos when I'm home. It was a great performance. On the subject of flowers I wish that the men at ROH were allowed to receive bouquets on stage in this day and age seems daft not to allow it. 4 Link to comment Share on other sites More sharing options...
toursenlair Posted March 10, 2018 Share Posted March 10, 2018 22 minutes ago, Don Q Fan said: On the subject of flowers I wish that the men at ROH were allowed to receive bouquets on stage in this day and age seems daft not to allow it. "daft" is an understatement 2 Link to comment Share on other sites More sharing options...
Don Q Fan Posted March 10, 2018 Share Posted March 10, 2018 1 hour ago, capybara said: I agree that it's been a wonderful season of Giselle performances. I will take away fond personal memories of: two astonishing Giselles (Takada and Osipova) a peerless Albrecht (Muntagirov) some accomplished debuts in the three leading roles (Naghdi, Ball, Hayward, Ella, Kaneko) some excellent pas de six line-ups the celebration of Nunez's stellar 20 years with the RB (and Muntagirov giving her his own bouquet) the once-in-a-lifetime moment when Matthew Ball danced an unexpected Act 2 Albrecht with Osipova the corps, the corps, the corps Until next time when the debutantes will reprise and develop their interpretations and more young dancers will get their opportunity to shine in roles which seem made for them. Whilst I *only* saw Naghdi/Ball and Osipova/Ball the Royal Ballet is positively brimming with talent at the moment we're seeing a golden era in the company at the moment, one to treasure. 8 Link to comment Share on other sites More sharing options...
LinMM Posted March 10, 2018 Share Posted March 10, 2018 But wonderful elevation I thought! Link to comment Share on other sites More sharing options...
LinMM Posted March 10, 2018 Share Posted March 10, 2018 Errrr I think there is an error I was writing on the Giselle thread and replying to Capybara have no idea why this comment is here!! Link to comment Share on other sites More sharing options...
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