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Nina G.

The Royal Ballet: Giselle, January-March 2018

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Wow lovely piccies again Don Q.

cavycapers thanks for the piccie of Michaela ....and I absolutely agree with you re her performance I really liked her in the role and elevation lovely.

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Thank you for those gorgeous photos, DonQFan.   A lovely representation of a very special night!

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Great pictures, apart from the first curtain call, I had to dash out to catch the 10.30pm train and then spent 20 minutes fuming as it was delayed!

 

All 3 performances I saw of Giselle were very special ones, the Albrecht's were new and the only Giselle I had seen before was Natalia Osipova, I thought we had seen enough of Giselle recently but how wrong I was!  Friday had the best pas de six of them all too, especially Yuhui Choe and James Hay.

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There was a short piece in yesterday's Sunday Times about Ball stepping in for Hallberg, with some comments from him and a photo. Incidentally while I was watching Ball in Act 1 of his performance with Naghdi I kept wondering who it was he reminded me of and eventually realised it was... David Hallberg. Anyone else get that?

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Lovely pictures Don Q Fan - thank you.

 

Something to help me remember this wonderful performance. You would not have known it was the end of the run of Giselles and what a run! It seems to have had everything, great debuts, dramatic cast changes etc.

 

i count myself very fortunate to have been there on Friday. Sparkling dancing in the pas de six, menacing Myrthe and the Wilis.

 

Osipova's mad scene - my heart broke along with hers. Act 2 everything I could have hoped for. It was so moving and great that the audience showed such enthusiastic appreciation of the memorable performance that we had witnessed.

 

I am feeling withdrawal symptoms from this ballet.

 

The Royal Ballet is in fine health and should feel proud of its performances.

 

 

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Thank you Don Q Fan for the photos, and for every one else above for all the comments and insights.

 

We were there on Friday, too, and I got "a bit emotional" during the performance (although my girlfriend told me off for being so!), but then some ballet and opera just do that to me...

 

I don't think I can add anything else that hasn't been said already, apart from thank you so much to all involved in putting on such a spectacular ballet. We saw a fantastic Giselle in Jan 2017 at ENO by ENB (I think it was Alina Cojocaru), and I just cannot separate the 2 performances - they were both amazing to watch.

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Just another thought about Friday's performance....did anyone else notice how quiet the audience was. It was heaven!!! Clearly all spellbound by Osipova/Ball. If only every performance could be so quiet.

The last time I experienced that  was Daria Klimentova's Nutcracker solo at a Russian Icons a few years ago. Could have heard a pin drop.  

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4 hours ago, Jane S said:

There was a short piece in yesterday's Sunday Times about Ball stepping in for Hallberg, with some comments from him and a photo. Incidentally while I was watching Ball in Act 1 of his performance with Naghdi I kept wondering who it was he reminded me of and eventually realised it was... David Hallberg. Anyone else get that?

 

I hadn't seen Hallberg at that point, so it didn't occur to me then; but when Ball stepped in for Hallberg, I did think that he looked like a slightly younger version of Hallberg and so there was actually quite an interesting dynamic about that!

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How many Myrtha's were there this time around? Calvert, Kaneko, Heap, McCulloch. Anyone else? 

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5 hours ago, sanj2000 said:

Thank you Don Q Fan for the photos, and for every one else above for all the comments and insights.

 

We were there on Friday, too, and I got "a bit emotional" during the performance (although my girlfriend told me off for being so!), but then some ballet and opera just do that to me...

 

I don't think I can add anything else that hasn't been said already, apart from thank you so much to all involved in putting on such a spectacular ballet. We saw a fantastic Giselle in Jan 2017 at ENO by ENB (I think it was Alina Cojocaru), and I just cannot separate the 2 performances - they were both amazing to watch.

 

I agree with you sanj2000, Alina has been my top Giselle for some time now but two ballerinas have come very, very close in this run. Francesca’s Act1 reminded me so much of Alina’s interpretation and Natalia’s total performance was so wonderful, my heart was bleeding.

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3 hours ago, Don Q Fan said:

Just another thought about Friday's performance....did anyone else notice how quiet the audience was. It was heaven!!! Clearly all spellbound by Osipova/Ball. If only every performance could be so quiet.

 

Well, apart from all the applause at the end of each section of the Act II pdd ...

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Posted (edited)

I'm hoping the run of Swan Lakes will be just as memorable as the run we just witnessed of Giselle. Maybe I should lower my expectations though... :D

 

*Actually, never mind Swan Lake, I forgot about Manon. 

Edited by HappyTurk
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Thanks again for the wonderful pictures Don Q fan. They do capture a very special performance really well. I wasn't there that day but I was there when Matthew Ball stepped in for David Hallberg and I thought he was as wonderful then as when he did the full length performance with Yasmine. Incidentally, I thought the RB had a principal on site to take over if anything went wrong. I know it's not possible to cover all roles but I remember what a wait there was when Osipova fell in Don Q and Takada had to come from home and take over having danced the role at the matinee. Surely they must have principals on site if a performance is being filmed or would they just use the footage from the film of the earlier performance as 2 shows are normally filmed? Anyway, though being disappointed about Hallberg I was really pleased to see Matthew again and fingers crossed for seeing Hallberg in Manon. Also looking forward to seeing Osipova/Ball in Swan Lake. What an embarrassment of riches we have to look forward to at the RB these days!

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Didn't we decide that they usually sent the "spare" principal home at the beginning of the performance if things were okay, and assuming there was no compelling reason to keep them there?

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2 minutes ago, alison said:

Didn't we decide that they usually sent the "spare" principal home at the beginning of the performance if things were okay, and assuming there was no compelling reason to keep them there?

 

I can't comment on the RB but some years ago Tiit Helimets was in a restaurant in Edinburgh when he got the call to take over a performance of Coppelia at the gpdd.

 

I also saw Chi take over a performance of Fille in Plymouth after the Fanny Elsler pdd.  Although I think he must have been in the theatre as the curtain wasn't down for long.

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As it's all over, here's something to make us laugh instead of cry!!  

IMG_3746.JPG

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In Leigh Witchel's review of the Osipova/Ball Giselle he writes:

 

" Osipova’s Act 2 entry was an Osipovism where she altered the choreography to create a unique, larger-than-life effect: wild spinning followed by huge jumps picking her legs up under her. "

 

This sounds very much like what I think I saw Naghdi do at that point - is it now standard? (Or did I imagine it?)

 

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I read that review and wondered where it was coming from. Having looked at a whole load of Giselle clips on YouTube I don't think the choreography, with the exception of those beautiful  turning lifts (which I've seen before and is on an Osipova/ Shkylarov clip) is very much different in the various interpretations. I know there used to be some differences in the American version when we saw it there in the 1980's, so that might explain her opinion.

 

I did wonder if she was at the same performance as the rest of us....

I, for one, am still not over it!

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3 hours ago, capybara said:

Now waiting for a photo of Myrtha with her selfie stick :)

Not to mention the corps de ballet taking selfies as they cross the stage in arabesques. 

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1 hour ago, Mummykool said:

I did wonder if she was at the same performance as the rest of us....

I, for one, am still not over it!

 

I agree so much with you, Mummykool. While describing various jumps, arms, legs, etc. this critic missed the most important — the atmosphere created by the dancers and the emotional peak of that performance, which gripped the audience.

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She is a he, Mummykool!  🙂

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9 hours ago, Amelia said:

 

I agree so much with you, Mummykool. While describing various jumps, arms, legs, etc. this critic missed the most important — the atmosphere created by the dancers and the emotional peak of that performance, which gripped the audience.

 

I didn't read the review as being overtly critical of Osipova - just describing her unique/idiosyncratic way of dancing the role. In fact I really enjoyed the writing and found it very illuminating. Maybe I read it too quickly!

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I think there was a certain amount of pique in parts of the revue, I got the impression he had come to see Hallberg and felt short-changed.  This is the second time I've read Matthew Ball being described as 'pretty'.  I'm uncomfortable with that term as I find it demeaning, not as overt as the suggestion he gets roles because he is handsome but the implication is there.  With regard to changes in choreography, a jump or a spin can be integral, but steps can look very different on different dancers with different speed and elevation.

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I know Sylvie Guillem had a reputation for changing bits of choreography to suit herself, but I've not heard it said of Osipova before.  

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Posted (edited)
49 minutes ago, MAB said:

I think there was a certain amount of pique in parts of the revue, I got the impression he had come to see Hallberg and felt short-changed.  This is the second time I've read Matthew Ball being described as 'pretty'.  I'm uncomfortable with that term as I find it demeaning, not as overt as the suggestion he gets roles because he is handsome but the implication is there.  With regard to changes in choreography, a jump or a spin can be integral, but steps can look very different on different dancers with different speed and elevation.

 

Oh, MAB - 'revue' rather than 'review' .... You did make me laugh.  Thank you. 

 

For a moment you had me imagining Leigh Witchel disguising himself as a 'pretty' Hermione Gingold and prancing about with glee purposefully on the theme of 'Matthew Ball'.  :)   (I was assuming this was in one of the new very Flash ROH loos prior to returning to his complimentary seat [only one mind] where all decorum would, of course, be observed.)  Sadly I can't remember the music.  No, no.  I think it was Ruth Etting's entrancing 1929 'Button Up Your Overcoat'.  The vision was - as you suggest - piquant.  

 

 

Edited by Bruce Wall
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