Jump to content

The Royal Ballet: New Swan Lake Production, Summer 2018

Ian Macmillan
 Share

Recommended Posts

  • Replies 1.2k
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

JohnS

JohnS

Posted
Posted

Just back home and looking forward to a proper read of posts and reviews.  A wonderfully impressive Swan Lake as so many posts pay tribute.  Curtain up on Act 3 really is tremendous (and deserves a round of applause as we get with the principals’ entrances - just a few claps last night), as is the fabulous curtain mid stage which reveals Odile.  At one point it struck me that the staging and costumes were so opulent, it could have been one of the Met’s productions.  There’s always a danger of opulence teetering on the edge of vulgarity and sometimes succumbing but not with the care lavished on the whole performance.  Just at the very close I wondered if it would have been more telling to have ended with Siegfried bringing the lifeless now human body of Odette to centre stage and at the Rehearsal thought the illumination of Odette’s Swan spirit a fraction kitsch.  But having see the opening night, and hence no longer surprised, thought it worked.

 

I agree with all the plaudits for the principal dancers and will look forward immensely to this cast in the cinema relay.  For my part I thought the PD3s in Acts 1 and 3 for Siegfried’s sisters and Benno beautiful and all three dancers to my eyes absolutely complemented each other.  And I found the Act 4 PDD very moving.  I will look forward to later performances of the Neapolitan dance which I thought was in danger of falling behind the music (we’d been very spoiled in the Rehearsal).

 

I do have some questions about the narrative which I hope will become clearer as I read what others have to say, catch up on the Insight screening and the cinema programme, and see further performances, with mouthwatering prospects in store on Bank Holiday Monday and 13 June (matinees and evening performances both times).  I like the prologue but wondered if there was going to be a differentiation - swans wear tutus, humans wear clothes.  But this wasn't carried through to the production.  I had also wondered if the princesses were to be integrated in the national dances (I do appreciate this would be anathema to many people and am not expressing a view as to merit or my wish).

 

I’m not sure that Von Rothbart’s role is explained - I’m certainly struggling but haven't done my homework.  His desire for Odette’s and the Queen’s crowns is vividly portrayed but is this thieving magpie like on a massive scale, or has he been usurped?  And how has he become the power behind the throne - is the cast list descriptor ‘Sorcerer/Queen’s Advisor’ sufficient?

  • Like 2
Link to comment
Share on other sites
bridiem

bridiem

Posted
Posted
2 hours ago, Richard LH said:

 

Something I don't understand about Swan Lake in general....if Siegfried swears his loyal and undying love to Odette here, how come the spell isn't broken? She stills turns back into a swan at dawn at the end of Act II.

 

I think that's because although he professes his love, he doesn't do the 'official' swearing of undying loyalty etc (the arm in the air gesture that seals Odette's fate). A bit like the difference between 'I love you' and 'will you marry me?'.

  • Like 2
Link to comment
Share on other sites
Terpsichore

Terpsichore

Posted
Posted

I could have attended every one of Northern Ballet's evening performances of Jane Eyre at The Lowry or two performances of Don Quixote by Dutch National Ballet from the best seats  in the Stopera for the price of my ticket in the stalls for Tuesday's performance.   

I am also taking the whole afternoon off work to traipse down to the Smoke and my train home pulls into Donnie in the early hours of Wednesday morning.

Will it be worth it?

I think so.   I am a big fan of Lauren Cuthbertson and Federico Bonelli,

But I will let you know on Wednesday.

Link to comment
Share on other sites
bridiem

bridiem

Posted
Posted
27 minutes ago, JohnS said:

 And how has he become the power behind the throne - is the cast list descriptor ‘Sorcerer/Queen’s Advisor’ sufficient?

 

I didn't really feel the need for more background than this. History is littered with examples of advisers/courtiers/second-in-commands etc who have plotted to oust their 'boss', especially if they can catch them at a vulnerable moment. And I thought VR was really horrible and frightening, more so than in the previous production.

 

I was looking through my opera glasses at the end so I didn't know there was a projection of Odette!! Must look for it next time.

  • Like 2
Link to comment
Share on other sites
Richard LH

Richard LH

Posted
Posted
46 minutes ago, Jan McNulty said:

Getting ready for tomorrow's links!

 

Reviews - Royal Ballet, Swan Lake, London:

Louise Levene, FT

Zoe Anderson, Independent

Judith Mackrell, Guardian

Mark Monahan, Telegraph

Neil Norman, Stage

Gallery - Dave Morgan, DanceTabs

and we  are invited to post our own reactions here.... http://www.roh.org.uk/news/your-reaction-what-did-you-think-of-swan-lake

Link to comment
Share on other sites
LinMM

LinMM

Posted
Posted

Can someone tell me if that the beautiful soaring music at the end of the previous production as Siegfried and Odette go off to another world is still kept in this production( even if it doesn't have quite the same resonance) or has the end music been changed completely?Looks like in for a treat then on 11th with Naghdi's debut into the bargain!!

Link to comment
Share on other sites
Sim

Sim

Posted
Posted

Yes, that same music is there, LinMM, but IMHO not used to the same effect as in the Dowell version, as I said on one my posts above.  The ending here is too gloomy for that uplifting and beautiful music!

 

Yasmine's official debut is actually May 28th!  But either way, it doesn't matter because she will be wonderful in both performances!!  :)

  • Like 6
Link to comment
Share on other sites
bridiem

bridiem

Posted
Posted
4 minutes ago, Sim said:

Yes, that same music is there, LinMM, but IMHO not used to the same effect as in the Dowell version, as I said on one my posts above.  The ending here is too gloomy for that uplifting and beautiful music!

 

I've posted something to this effect on the ROH website.

  • Like 2
Link to comment
Share on other sites
bridiem

bridiem

Posted
Posted
2 hours ago, Sim said:

 

Act 4:   I love how the swans very slowly walk off the stage as the pdd is being danced, wistfully looking back at the couple as if they already know that they are doomed.  Very clever and very effective. 

 

I'd forgotten that bit! It's tremendous - so moving and powerful.

  • Like 3
Link to comment
Share on other sites
LinMM

LinMM

Posted
Posted

Oh that's good as I couldn't bear to see a production of Swan Lake without it!!  There is a sort of all conquering joy in that music and has been at least one of the best endings to a ballet for me ( Also Song of the Earth ....(also a beautifully  spiritually uplifting ending but in an entirely different mood) 

I hadn't realised that Naghdi had an earlier debut but no matter I haven't seen her do it before and have a feeling she will be rather good!! 

Link to comment
Share on other sites
Lizbie1

Lizbie1

Posted
Posted
1 hour ago, JohnS said:

Curtain up on Act 3 really is tremendous (and deserves a round of applause as we get with the principals’ entrances - just a few claps last night),

 

The applause for the Act 3 set sounded pretty substantial from where I was (front amphi). Unless my memory deceives me there were more than a few bravos mixed in too.

  • Like 1
Link to comment
Share on other sites
Jane S

Jane S

Posted
Posted
4 hours ago, Jane S said:

Please tell me that amongst all this splendour they also took the Act 2 pas de deux a bit faster? (Better stil, a lot faster?)

 

4 hours ago, Sim said:

Errr.....no!  I was actually commenting to someone last night that it is very slow.  She said if it were any slower they would have to extend the finishing time!!

 

Oh. The one thing above all others I hoped they would change...

  • Like 1
Link to comment
Share on other sites
WoodlandGladeFairy

WoodlandGladeFairy

Posted
Posted

Lovely reading so many positive reviews on the Royal Ballet's new production of 'Swan Lake' and I am so happy it went well for the company, all that hardwork paying off!

 

I am looking forward to seeing Vadim Muntagirov and Marianela Nuñez in a encore screening of the cinema relay of 'Swan Lake' on 17th June, as I'm sure it will be in rotation for years so I hope to catch it live next time.

 

Gorgeous photos by David Morgan, really shows off how beautiful and opulent the tutus are (and can I say I am thrilled the swan maidens are back in tutus, just so much more aesthetically pleasing to me).

  • Like 4
Link to comment
Share on other sites
miriskusnik

miriskusnik

Posted
Posted (edited)

I really enjoyed the production last night, and the wonderful atmosphere, too - it was such an exciting evening and I'm feeling very fortunate to have been there.

 

I have to echo everyone's comments about Muntagirov - just stunning.  Also agree that Nunez was best in acts 3 and 4 - especially as Odile where she was utterly bewitching.  I loved the sets and costumes, too - that ballroom more than lives up to the hype!

 

I think what I liked best was the narrative detail - the atmosphere and characters of the court were very clearly depicted and I think this helped add some context to Siegfried's melancholy at the beginning.

 

Act 3 was incredible from start to finish - I can't wait to see it again.  Tierney Heap was mesmerizing in the Spanish dance.

 

I loved the expanded role for Rothbart (and thought Gartside was brilliant) but was also left with questions.  In particular, how he came to that position in the court and what his relationship was with the queen - the two of them seemed very close.  I love the Hamlet comparison that Lindsay raised - early on I was wondering if we were supposed to infer more from their relationship than what was presented explicitly.  I'm still not entirely sure what they were going for and would be curious to see how he's portrayed in other casts.

 

For the moment where he clutched at his sides and ran off, I assumed that he was some sort of were-bird type creature who was about to transform back into his real self, and fled before it occurred.  I think that was the only time in the ballet that happened though so I'm not sure if that's correct.

 

I kind of loved that even though he was disguised as a human, he seemed to make no attempt to blend in or make himself appear less sinister.   

 

The ending surprised me, and I'm not quite sure what to make of it yet - I think I'll have to see it again to decide.

 

I'm looking forward to returning and seeing how the production beds in.  I see a lot more theatre than ballet so I'm used to seeing tweaks in previews, but without that structure I suppose this is pretty much the finished article.  As is, I thought it was fantastic.

Edited by miriskusnik
  • Like 7
Link to comment
Share on other sites
JohnS

JohnS

Posted
Posted
5 hours ago, bridiem said:

I was looking through my opera glasses at the end so I didn't know there was a projection of Odette!! Must look for it next time.

 

I'm sorry Odette's appearance at the very close, high up on the rock may not have been visible to parts of the House (or because of Opera glasses).  I do wonder if it were more visible whether it might have made a difference to those commenting about the absence of redemption/transfiguration which I see bridiem includes in her ROH post.  Whilst I didn't particularly welcome the appearance at the Rehearsal, it worked much better for me on opening night.  I look forward to reading what people think on further viewings and hope they have opportunity for a reasonable view.

  • Like 2
Link to comment
Share on other sites
bridiem

bridiem

Posted
Posted (edited)
47 minutes ago, JohnS said:

 

I'm sorry Odette's appearance at the very close, high up on the rock may not have been visible to parts of the House (or because of Opera glasses).  I do wonder if it were more visible whether it might have made a difference to those commenting about the absence of redemption/transfiguration which I see bridiem includes in her ROH post.  Whilst I didn't particularly welcome the appearance at the Rehearsal, it worked much better for me on opening night.  I look forward to reading what people think on further viewings and hope they have opportunity for a reasonable view.

 

I will ensure no opera glasses at the end next time! I did in fact assume that Odette was not simply dead and gone; but we are still left with a grief-stricken Siegfried (who clearly also didn't see Odette behind him!!) and the lovers not united. So there is no resolution of the personal tragedy.

Edited by bridiem
  • Like 3
Link to comment
Share on other sites
zxDaveM

zxDaveM

Posted
Posted

Indeed, but I referred to bridiem’s post about a projection.

in the rehearsal I nearly missed it with the camera in my face, and I was in the stalls circle standing for the show, and could see about half a lower leg....

  • Like 1
Link to comment
Share on other sites
Shirley

Shirley

Posted
Posted
10 minutes ago, zxDaveM said:

It’s not a projection of Odette, it IS Odette with the help of some nifty hydraulics

From my position it was definitely not obvious she was there ( I was seated high up in the amphi).

 

Also if you were concentrating on Siegfried would you notice her appearance at all?

 

Must admit to enjoying most of the production but would need to see it a few times as lots to take in on one viewing, hopefully without an annoying child behind.

Link to comment
Share on other sites
zxDaveM

zxDaveM

Posted
Posted
1 minute ago, Shirley said:

From my position it was definitely not obvious she was there ( I was seated high up in the amphi).

 

Also if you were concentrating on Siegfried would you notice her appearance at all?

 

Must admit to enjoying most of the production but would need to see it a few times as lots to take in on one viewing, hopefully without an annoying child behind.

 

I guess from the stalls, you’re looking up as you look at Siegfried, so you would see her behind him.

its a minor quibble though, as the other 99% is terrific

  • Like 1
Link to comment
Share on other sites
Lizbie1

Lizbie1

Posted
Posted
5 minutes ago, Shirley said:

 

Also if you were concentrating on Siegfried would you notice her appearance at all?

 

 

2 minutes ago, zxDaveM said:

 

I guess from the stalls, you’re looking up as you look at Siegfried, so you would see her behind him.

its a minor quibble though, as the other 99% is terrific

 

I certainly noticed it from front side amphitheatre.

 

Link to comment
Share on other sites
JohnS

JohnS

Posted
Posted

Thanks bridiem - I do appreciate there isn't the joint resolution but like to think in time Siegfried might find Odette's protection looking after him from her vantage point on high.  But it is very much Giselle rather than Tristan.

 

PS I was in the Stalls Circle pretty much central for the Rehearsal and sides for the opening night and Odette's appearance was very clear from both seats.

  • Like 1
Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
 Share
Go to topic listing
×
×
  • Create New...