The Royal Ballet: Mayerling, Autumn 2018

[miriskusnik]

I read the discussion in this thread about audience confusion over the plot/characters a few days ago - I've overheard all manner of bewildered comments at Mayerling before, but what I heard last night was a new one.  During the first interval, a woman near me was patiently explaining to the person she brought that Rudolf was gay (!).  "Didn't you see him kissing all those men?" she asked.  I assume she was referring to the Hungarian officers!

[Esmeralda]

6 minutes ago, miriskusnik said:

I read the discussion in this thread about audience confusion over the plot/characters a few days ago - I've overheard all manner of bewildered comments at Mayerling before, but what I heard last night was a new one.  During the first interval, a woman near me was patiently explaining to the person she brought that Rudolf was gay (!).  "Didn't you see him kissing all those men?" she asked.  I assume she was referring to the Hungarian officers!

 

Wow, thats a new one🤣. Apparently the four officers weren´t really threatening last night, haha!

[Nogoat]

I didn't originally plan to see last night's cast, but went to see Soares/Cuthbertson on the recommendation of a friend. Don't get me wrong; I enjoyed the performance, and it was interesting to see yet another interpretation of the story to compare to the others I have seen, but I don't think it lived up to the hype that persuaded my partner to shell out for some amphi tickets.

 

But thank goodness there is sufficient latitude in the ballet to permit widely different portrayals, as well as diverse sensibilities in the audience to respond to those portrayals; maybe my 'antennae' lack sensitivity or are tuned to pick up different things, but the overall performance just didn't set up a resonance within me. Basically, it boils down to 'different strokes for different folks'...

 

Some of the things that stuck in my mind were...

 

I've seen enough of Soares to know he is a great actor but, as in the McRae broadcast, I didn't get a strong enough impression of the 'journey' that led to the eventual murder/suicide. I've mentioned before I want (need?) to see emotion in narrative ballets to complement the dancing, but in a way that is still not enough (McRae radiated emotion, but it tended to be rather loud and monotonic); I also need to see change in order to understand motivations etc. Soares started off fairly low-key (so I was looking forward to seeing development), but by the time we got to the 'chair' scene in Act 3, all I could think of was 'here is someone who is dazed and confused' (in contrast, say, to Ball who manifested his thought processes with crystal clarity through his movement and expression). It was all just a bit too 'fuzzy' for me.

 

I think Cuthbertson is pure class, and I was looking forward to seeing her. For me, she played Mary more as a clever 'social climber' compared, say, to the 'wild child' that was Osipova's Mary. She seemed to be using Rudolf more than she was infatuated by him (with those eyes and that smile, she could basically get anyone to do anything!). As Esmeralda mentioned, Mary was effectively 'in charge' - and not solely driven by passion or thrill-seeking. That control came through nicely in the seduction at the end of Act 2, where she was both sensual and raw (I have never seen a Mary expose that much skin before, nor place her hands on Rudolf where she did!). Given where the story was going, I was reminded briefly of the lover in Jeune Homme - using her sensual skills to facilitate the suicide of the young man. 

Their final PDD took time to build, but it certainly became reckless - though I don't believe intentionally. The spiralling dismount of Mary from Rudolf carrying her on his shoulders across the stage (which can involve the chair getting hit) seemed to be a bit too quick and maybe one rotation fewer than normal, causing Lauren to yelp as she hit the floor sooner and faster than expected; for a moment I thought she had strained something, but she seemed to carry on OK after that. It was a bit of a heart-stopping moment, though if anything it added to the tension of the scene.

 

I think Yuhui is a beautiful, stylish, graceful dancer - but I didn't think the role of Stephanie suited her. Maybe she was slightly put off by a slip in her bedroom solo at the end of Act 1, but I felt the subsequent PDD with Soares never really gelled and, therefore, did not carry the level of claustrophobic menace as in other performances (for example, Hirano and Ball roughly shoved Stephanie's legs apart on the bed right at the end - which spoke volumes in terms of attitude and intent - and I have a recollection that McRae used his knee to do that, which is even more telling; but Soares seemed to roll Stephanie to the back of the bed, more as if to make room for him to settle down after a hard day's work!).

 

Corrales stood out again as the lead Hungarian officer; and it's not just that he's good - he's consistently good! It may have been the 'shock of the new' but, if anything, I'd say he has even toned it down compared to the first night! Roll on Bayadere!

 

Sambe was as sharp as a tack in his brothel solo - and came across as a confident, sociable character. It was slightly disappointing, then, to find the edge had gone from his technique (and characterisation) in the final act compared to, say, James Hay (there has been some comment on how good Hay is - and I totally agree. He is always scrupulous in how he presents his character, however minor the role he plays; a case in point would as a sacrificial goat - along with Anna Rose - in last year's Sylvia.).

 

Itziar gave an interesting, almost insolent (compared to the mostly cool and composed games-master that was Sarah Lamb) reading of Larisch. The looks she gave when called to heel by her husband were priceless!

 

I thought the 'fireworks' PDD between Gary Avis and Lara Turk was beautifully observed; the happiness and contentment they invoked and felt in each other's company blazed forth, and made Rudolf's surveillance of it even more poignant.

 

I'm sorry this post went on a bit; I always start with the intention of 'keeping things brief', but the truth is that Mayerling makes me think about performances in ways that other ballets beginning with M, such as Multiverse, don't (though now I've got the image in my head of It's Gonna Rain playing over the start of Mayerling, with all that rain/snain/sleet/snow - delete as appropriate - falling in the background! ).

[Guest]

25 minutes ago, Nogoat said:

... Mayerling makes me think about performances in ways that other ballets beginning with M, such as Multiverse, don't

That made me laugh. Manon and Monotones make me think (in quite different ways). Multiverse just made me feel angry! 

[Blossom]

Really enjoyed the performance tonight with Bonelli/Morera. I think Morera makes this ballet for me- final pas de deux was so emotive and final moments before their suicides so heart stopping. I’d seen her perform it at one of Acosta’s farewells and it made me feel I had to see the full ballet. I was rather underwhelmed last run- finding the story impossible to follow and the final pdd lacklustre in comparison to this time - must dig out the cast sheet. 

 

Wonderful to see Corrales at the ROH- thrilled he danced in this cast. A slight slip at one point but such a professional and an excellent save... 

 

Stix Brunell was a marvellous Mitzi Caspar.  Really enjoyed her dancing.

 

I always seem to find Bonelli a bit shaky at the start but wonderful post the first 5 mins or so on stage. Does anyone know if he has ever spoken of stage fright? 

 

Thanks so so much to all of the Mayerling experts out there - I enjoyed the performance all the more having swotted up on the story (inc watching the dvd) and having the hints about following Marie Larisch (Mrs Bonelli this evening). A completely different experience to before.

 

Overall a really pleasing cast and a wonderful night out. 

[nycitybird]

2 minutes ago, Blossom said:

I always seem to find Bonelli a bit shaky at the start but wonderful post the first 5 mins or so on stage. Does anyone know if he has ever spoken of stage fright? 

 

I've seen his hands visibly shaking for the first few minutes in the last runs of Manon and Mayerling but then he seems to relax after he's done his first solo.

[Blossom]

2 minutes ago, nycitybird said:

 

I've seen his hands visibly shaking for the first few minutes in the last runs of Manon and Mayerling but then he seems to relax after he's done his first solo.

 

I really enjoy his dancing and feel for him so much if it is a case of nerves. 

[nycitybird]

Me too! And if it is nerves it's quite endearing that he still gets them after all these years.

[Sim]

I thought Bonelli and Morera were on fire tonight.  So much passion, emotion and mutual empathy and understanding, such as can only come from a couple who have been dancing together for years, and who both have the experience and maturity to interpret these difficult roles so utterly convincingly.   Erotic, heartbreaking  and ultimately tragic.  I can't imagine another pairing coming anywhere near these two for a long time to come.  

[Jamesrhblack]

I’m inclined to agree Sim, although I think Bonelli was a little slow burn tonight. Morera was exceptionally good. I appreciate Kobayashi was coming back after time away but Larisch is such a wonderful role and I found her performance under characterised and under danced - remember, it was created by Merle Paarl, one of the great virtuoso dancers in the company’s history. Tristan Dyer and Beatrix Stix-Brunell-Brunel were first class, Mendizabal ideally cast (although I would love to have had her as Larisch) and beautiful to watch with Kish, Was I physically and emotionally tired after the Ring? Yes. Did it match up to possibly enhanced memories of April 2017? Perhaps not....

[Sim]

The Ring??!!

[Scheherezade]

I, too, found Bonelli and Morera utterly heartrending. What struck me most was how natural they were. Both performances seemed completely uncontrived, something that, to me, made the emotional arc that much more compelling.What an empathetic dancer Morera is, and how under-rated. I found myself noticing the little things, such as the flutter of her hands when she was first alone with Rudolf and I loved the youthfulness and spontaneity that seared through her portrayal. And what a perfect foil for the entitled, lost boy loneliness that defined Bonelli's Rudolf. This was a prince who suggested something of the qualities that must at one time have engaged Bratfisch' desolate devotion.

[annamk]

Any worries I had that Bonelli & Morera would not live up to their terrific performances in the last run were entirely unnecessary.

 

Bonelli & Morera lived and breathed these roles like no one since Kobborg & Cojocaru. 

 

So so sad these magnificent, masterly accounts were not filmed. 

[ninamargaret]

8 hours ago, Blossom said:

always seem to find Bonelli a bit shaky at the start but wonderful post the first 5 mins or so on stage. Does anyone know if he has ever spoken of stage fright? 

Yes, I've often noticed this in his performances, but am more than happy to put up with it because I love his dancing and characterisation so much! Having read the posts above I'm really looking forward to my visit next week. 

[Sim]

52 minutes ago, annamk said:

 

 

So so sad these magnificent, masterly accounts were not filmed. 

Agreed.  A real loss to ballet, and to future generations of dancers who will tackle these roles.

[capybara]

I was slightly fearful that, after the knock-out performance Matthew Ball gave last Saturday night, the Bonelli/Morera cast would feel ever so slightly anti-climactic. I needn't have worried. It was different, of course, but absolutely terrific from all concerned. I liked Kobayashi as Larisch and, in my view,  Mendizabal/Bonelli gave us the most affecting account of the mother/son scene this run - phew! And we had Corrales and Stix-Brunell livening up the proceedings and a delightfully suave Kish as Bay Middleton.

 

Yes, this cast should have had the cinema relay.

[Scheherezade]

1 minute ago, capybara said:

I was slightly fearful that, after the knock-out performance Matthew Ball gave last Saturday night, the Bonelli/Morera cast would feel ever so slightly anti-climactic. I needn't have worried. It was different, of course, but absolutely terrific from all concerned. I liked Kobayashi as Larisch and, in my view,  Mendizabal/Bonelli gave us the most affecting account of the mother/son scene this run - phew! And we had Corrales and Stix-Brunell livening up the proceedings and a delightfully suave Kish as Bay Middleton.

 

Yes, this cast should have had the cinema relay.

 

Yes, to all your reactions, Capybara. Mendizabal was affecting. And it was good to see Kish making a positive impression, something that I have only previously experienced in abstract rather than dramatic roles. The portrayals of this cat were a triumph of honesty over artifice.

[Jamesrhblack]

7 hours ago, Sim said:

The Ring??!!

I had artists in the ROH Ring Cycles and the only cycle I could get to was the third so Mayerling came after eighteen plus  hours of Wagner in the theatre over the last week. 

[Anna C]

1 hour ago, capybara said:

I was slightly fearful that, after the knock-out performance Matthew Ball gave last Saturday night, the Bonelli/Morera cast would feel ever so slightly anti-climactic. I needn't have worried. It was different, of course, but absolutely terrific from all concerned. I liked Kobayashi as Larisch and, in my view,  Mendizabal/Bonelli gave us the most affecting account of the mother/son scene this run - phew! And we had Corrales and Stix-Brunell livening up the proceedings and a delightfully suave Kish as Bay Middleton.

 

Yes, this cast should have had the cinema relay.

 

I agree, capybara.  From the Stalls Circle I wished for a little more emotion at times from Kobayashi but that is possibly because I’m now used to Lamb who I think is terrific as Larisch.   Great to see Kobayashi dancing again though and how lovely that she and Bonelli were cast together.  I liked Tristan Dyer’s Bratfisch but thought his heartbreak didn’t come across as well as I imagine Hay’s would.  

 

Mendizabal, Maguire and Stix-Brunell were all outstanding.  Great to see Corrales with his fireworks and expressive face and I must also put in a word for Reece Clarke who is dancing beautifully and who always draws my eye onstage.  Why he is not yet a First Soloist is beyond me. 

 

My goodness; Morera and Bonelli. What a partnership. They ARE Mary and Rudolf.  Along with Cuthbertson, Morera is outstanding at playing girls and young women; so youthful can she be when necessary.  She was abandoned without being wild; effortlessly expressive and what chemistry she and Bonelli have.

Like Soares, Bonelli’s Rudolf is to be pitied.  His pain and desperation, his powerless raging against his Father, the Court, his life, were all transmitted to us.  The scenes with his Mother were so affecting.   I had unshakeable confidence in his partnering which meant that I could lose myself in the story and they engrossed me utterly.  At one point in the final act pdd I heard Morera’s pointe shoes onstage and almost jumped because it suddenly reminded me that I was in the auditorium watching and not right there in the story.  

 

I don’t often feel angry after a ballet but l AM angry that these two weren’t filmed for the cinema live stream.  We may not see Bonelli’s Rudolf next run and what a great loss not to have his and Morera’s partnership filmed. 

[Fiz]

Whilst Anna was watching this, I was reading the 2017 book Twilight of Empire by Greg King and Penny Wilson. It is the book to get about Mayerling if you are interested in the subject. They have uncovered so much new information including letters which were thought to have been destroyed previously. Nearly everything I have read and quoted here is wrong. It’s a fabulous book.

[annamk]

1 hour ago, capybara said:

I was slightly fearful that, after the knock-out performance Matthew Ball gave last Saturday night, the Bonelli/Morera cast would feel ever so slightly anti-climactic. I needn't have worried. It was different, of course, but absolutely terrific from all concerned. I liked Kobayashi as Larisch and, in my view,  Mendizabal/Bonelli gave us the most affecting account of the mother/son scene this run - phew! And we had Corrales and Stix-Brunell livening up the proceedings and a delightfully suave Kish as Bay Middleton.

 

Yes, this cast should have had the cinema relay.

 

I had wondered how I would feel too because I thought Ball & Hamilton were terrific, the freshness & excitement of youth and a debut.

 

But I found Bonelli & Morera on quite a different level; the years of experience really told in the partnering, in Bonelli's presence & bearing, in the nuances of expression from both - there in every gesture no matter how tiny. It meant that for me Bonelli and Morera climbed into the skin of the characters and for 3 hours they became living and breathing Rudolf and Mary. 

Edited October 26, 2018 by annamk
typo

[alison]

I only wish I'd been more than half there last night: I know it was an excellent performance, but unfortunately quite a lot of it passed me by   I'll have to see if I can go again on Tuesday.

[Scheherezade]

33 minutes ago, annamk said:

 

I had wondered how I would feel too because I thought Ball & Hamilton were terrific, the freshness & excitement of youth and a debut.

 

But I found Bonelli & Morera on quite a different level; the years of experience really told in the partnering, in Bonelli's presence & bearing, in the nuances of expression from both - there in every gesture no matter how tiny. It meant that for me Bonelli and Morera climbed into the skin of the characters and for 3 hours they became living and breathing Rudolf and Mary. 

 

So true, Annamk, it was all in the nuances, wasn't it? For me, at least, that is what made this partnership and this performance so extraordinary, and one that will stay with me for a long time. It wasn't contrived, it wasn't try-hard, it was captivating, mesmerising and utterly convincing.

[Sim]

It was as if they were living for each other, with each other, and inside each other.  Rarely have I seen such mutual and equally natural depth of feeling that comes across so convincingly.  Not since the days of Cojocaru/Kobborg.  I remember how deeply moving Bonelli/Morera were in Onegin.  That should be/should have been brought back to allow them the opportunity to reprise their beautiful performances in that ballet.  However, if it isn't (and to paraphrase Bogart)....."we will always have Mayerling."

[Anna C]

Incidentally, the “rain” in the prologue and epilogue did look much more snowy this time than in previous runs.  The MacMillan website specifies rain, so why the rain has become snow this time round is curious.  The undertakers’ coats look shiny with rain.   Perhaps it’s sleet...

[Guest]

10 hours ago, Jamesrhblack said:

I’m inclined to agree Sim, although I think Bonelli was a little slow burn tonight. Morera was exceptionally good.

 

... Did it match up to possibly enhanced memories of April 2017? Perhaps not....

Agree with James's comments above and loved how Morera convinced and changed as Mary Vetsera as a child and teenager: which made think once again, why on earth not give her a couple of performances as Juliet? This will remain one of those strange and seemingly indefensible decisions that happen from time to time! 

 

Btw, I enjoyed reading Nogoat's robust defense of Mayerling after one of my previous posts. I like the point that possibly the operatic interlude is supposed to reverse the balance of ballet taking an inferior role in opera - the song was, indeed, cut altogether in the 1992 revival.  

 

I had a better seat last night, much closer to the stage and enjoyed it more than the opening night, but despite some exceptional performances I reached the conclusion, once again, that this ballet is not for me. This makes me feel like a minority on this forum, but I know quite a few people who also suffer from Mayerlingtitus!!!

 

Minor point about a minor character, Princess Valerie. If Vetsera as child and teenager can be danced by the same dancer, then why not Valerie? I suppose most people wouldn't remember who she is anyway once she comes to do her pointe work exercises in the fireworks scene! 

 

 

[Fiz]

30 minutes ago, Anna C said:

Incidentally, the “rain” in the prologue and epilogue did look much more snowy this time than in previous runs.  The MacMillan website specifies rain, so why the rain has become snow this time round is curious.  The undertakers’ coats look shiny with rain.   Perhaps it’s sleet...

It snowed very heavily during the two nights that Rudolf and Mary stayed at Mayerling. It was the end of January so it’s probably meant to be snow or sleet. 

[Anna C]

28 minutes ago, Darlex said:

Minor point about a minor character, Princess Valerie. If Vetsera as child and teenager can be danced by the same dancer, then why not Valerie? I suppose most people wouldn't remember who she is anyway once she comes to do her pointe work exercises in the fireworks scene! 

 

Yes, I wondered this.  The only difference between the two scenes is that Valerie’s hair is up for the fireworks scene,  isn’t it?  Her dress is still short so why use two dancers? 

[alison]

Don't forget that the "two" Vetseras aren't always danced by the same dancer - some are more convincingly child-like than others.  I guess from Valerie's behaviour in the first scene that she's younger than Mary, so possibly the fact that she's grown up and that years have passed is better illustrated by having a different dancer play her for the rest of the ballet?

[Anna C]

20 minutes ago, alison said:

Don't forget that the "two" Vetseras aren't always danced by the same dancer - some are more convincingly child-like than others.  I guess from Valerie's behaviour in the first scene that she's younger than Mary, so possibly the fact that she's grown up and that years have passed is better illustrated by having a different dancer play her for the rest of the ballet?

 

Could be.  It’s not the largest of parts though; unlike Mary there’s no need to demonstrate how much more mature Valerie is in the fireworks scene.    To be honest, until I looked at the cast list I assumed that the same dancer played Valerie in both scenes. 

[Tony Newcombe]

At the premier of Mayerling the young Mary was played by Elizabeth Griffith.

The elder Valerie was danced by Marguerite Porter, the younger by Julie Rose, not obvious look a likes.

At the 1992 revival Durante was both the younger and the elder Mary. 

Valerie was danced by Muriel Valtat and Leanna Palmer. Once again not obvious look a likes.

A few days later Lesley Collier was the adult Mary and the younger Mary was Michelle Davis.

Make what you will of that.

 

 

 

 

 

 

 

 

[capybara]

Having a younger  Valerie affords a nice opportunity to young dancers, though, doesn’t it?

[Tony Newcombe]

5 minutes ago, capybara said:

Having a younger  Valerie affords a nice opportunity to young dancers, though, doesn’t it?

Yes it does. Something that the present Director seems to do very well