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1 hour ago, JennyTaylor said:

I've seen Thiago dance this role on many occasions now and he's always been the one who makes me feel sorry for Rudolf.  Last night was no exception and I felt it even more in his interpretation right from the start. Perhaps this is a result of seeing different Rudolf's very recently so there was a very definite contrast. That's what so marvellous about this ballet of course, each Rudolf gives us something completely different.

So, little things like - more emphasis on his need / love for his mother even in their first interactions and not so horrid to Stephanie in the brothel scenes.

 

Lauren Cuthbertson was superb as Mary and together they produced great theatre. They certainly had chemistry!  I felt Mary was much more in charge than Rudolf at the end and that felt right with the interpretation he had given.

 

Itziar also shone as Larisch - and how I wished we could see even more of those 4 Hungarian officers. They really went for it last night! 

 

  

 

I wished I could have seen Soares and Cuthbertson but occasionally I have to work unfortunately but I gladly read all the fantastic reviews. And I agree with you how interesting it is to see all the different interpretations of Rudolphs. It is a fascinating thing to watch how every dancer works with this character! Soares reading of Rudolph sound very interesting!

 

Who were the 4 Officers last night?

33 minutes ago, Rob S said:

 

Rather! I did spot some interesting moves when I momentarily looked away from Princess Stephanie’s disapproving face 😂

 

This...sounds interesting😂. The Corps de Ballet at RB (and not only them, a lot of the dancers at RB) are really great to make their own scenes. And some of them are so good that you could almost forget to watch the "main attraction", the actual ballet scene.

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5 minutes ago, Richard LH said:

. I don't understand how so many seats can be bought at the last minute. 

 

It must have been tickets sold to students as last minute standby tickets.  The amphitheatre had a much higher percentage of young people than normal.

Edited by Bluebird
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Now I’ve engaged brain, I’ve remembered the single seat next to me was empty and I’m very glad the ROH doesn’t have a policy of not allowing a single person to book a seat in such a position that will allow an isolated empty seat....unless they were desperate for bookings on Saturday morning

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2 hours ago, JennyTaylor said:

- and how I wished we could see even more of those 4 Hungarian officers. They really went for it last night! 

 

Who were they, please?

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Just now, capybara said:

 

Who were they, please?

 

Not got my cast sheet handy but the main man was Corrales, plus Ella and can’t remember the other two 

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3 minutes ago, Rob S said:

 

Not got my cast sheet handy but the main man was Corrales, plus Ella and can’t remember the other two 

 

Thank you. I suspected that Jenny Taylor's plea for more was mainly down to Corrales but Ella  too as well as Clarke and Acri ............ terrific. Has Ella been on before?

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8 minutes ago, capybara said:

 

Thank you. I suspected that Jenny Taylor's plea for more was mainly down to Corrales but Ella  too as well as Clarke and Acri ............ terrific. Has Ella been on before?

 

Actually, scrub that...I’ve got not idea why I keep calling Luca Acri Benjamin Ella....so the two  I remember were Corrales and Acri!

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27 minutes ago, capybara said:

 

Who were they, please?

They were Cesar Corrales, Reece Clarke, William Bracewell, Luca Acri - I've seen the latter 3 every time I've been to a performance with Marcelino Sambe and Corrales alternating as 1st Officer. They were really into it last night - they get more and more swashbuckling in Act 2. 

Edited by JennyTaylor
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29 minutes ago, bangorballetboy said:

 

Clarke and Acri.

 

Oh so I was right to say Ella but for the wrong reason! 🤣

 

Edit....oh, I was wrong to say Ella for the right/wrong reason, and I can’t delete this post...I’ll get my coat

Edited by Rob S
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3 hours ago, Rob S said:

I don’t know how often he does it but my heart did skip several beats when Kevin O’Hare made his appearance on stage before the start.....expecting to hear that ‘due to circumstances beyond our control.....’ etc, thankfully it was just for appeal purposes 

Was it the remember us before you die speech?

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2 hours ago, Bluebird said:

 

It must have been tickets sold to students as last minute standby tickets.  The amphitheatre had a much higher percentage of young people than normal.

Thanks Bluebird. 

In fact I see now that the following appears on the ROH's website  ticket page:

Occasionally we are able to offer standby tickets four hours before a performance at half-price. These standby tickets are also available to those on Income Support, those in receipt of disability-related state benefits, ES40 holders, all ROH Access Members, under-18s, Westminster City Save Card, WC2 residents and Senior Citizens receiving Pension Credits at £12.50 for ballet and £15 for opera. Information about standby tickets is given within 24 hours of the performance. These tickets are offered at the management’s discretion. For information about their availability, phone the Box Office on +44 (0)20 7304 4000.

If you are a student, you can register with ROH Students, allowing you to take advantage of unsold tickets for Royal Ballet and Royal Opera productions at the bargain price of £10. 

 

So not just students, but anyone for half price and potentially even less  if you fall into one of the given categories. Worth knowing, for anyone able to react at short notice!

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3 hours ago, Rob S said:

I don’t know how often he does it but my heart did skip several beats when Kevin O’Hare made his appearance on stage before the start.....expecting to hear that ‘due to circumstances beyond our control.....’ etc, thankfully it was just for appeal purposes 

Poor Kevin....he must know that virtually every time he appears on the stage the audience are going to be inwardly groaning. 

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1 hour ago, penelopesimpson said:

Was it the remember us before you die speech?

 

No (that's usually just at rehearsals).  It's the annual theatreland appeal this week so he was saying there would be buckets at the doors as patrons exited the building (I believe £250,000 was raised by this appeal across all the participating theatres last year).

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On ‎22‎/‎10‎/‎2018 at 10:46, alison said:

 

That reminds me, I was hunting around on the ROH website for the cinecast cast sheet, but couldn't find it anywhere.  Or any sign of an electronic programme, if such still exist?

I could not find anything on the site when I looked and had to email via the website.  I was sent the pdf of the  Mayerling cinema cast sheet.  It is now on the site if you haven't found it already.

 

https://www.roh.org.uk/showings/mayerling-live-2018

 

Margaret

 

 

 

Edited by Margaret

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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!

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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!

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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! :rolleyes:).

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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! 

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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. 

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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.

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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. 

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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.  

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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....

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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.

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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. 

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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. 

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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.

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