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11 hours ago, Sim said:

Has she refused requests to do it there Sophoife?  Or hasn't anyone asked yet?

 

I have been told by the AD of Australian Ballet that the opinion is that the stage of the Sydney Opera House theatre is too small to accommodate the sets. And a big production like Mayerling would have to run in both Melbourne and Sydney, and that AB is locked in to using the Opera House on a long-term contract. 

 

I understand that to break that contract and use, say, the Capitol Theatre, would be prohibitively expensive, and that to add an extra Sydney season and book the Capitol would be logistically difficult given the existing performance commitments of the company.

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Love your post Nogoat!! 

Maybe nearer the truth than we realise ....I'm sure he could have a stab at all those roles Hee hee

Made me laugh anyway.

Im trying not to get too excited about Bayadere next week (5th) but don't want to start expecting impossible standards from him! 

He has come a long way since his 2013 Prix de Lausanne Blog where I first came across him. 

 

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16 minutes ago, LinMM said:

Love your post Nogoat!! 

Maybe nearer the truth than we realise ....I'm sure he could have a stab at all those roles Hee hee

Made me laugh anyway.

Im trying not to get too excited about Bayadere next week (5th) but don't want to start expecting impossible standards from him! 

He has come a long way since his 2013 Prix de Lausanne Blog where I first came across him. 

 

 

You are right. Given the skills the Trocs have shown us over the last month or so, and the role-blurring joys that await us in the Bolshoi's Bright Stream next year, I don't think my tongue should have been quite as firmly in my cheek as I thought...

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12 hours ago, capybara said:

 

This really made me smile. I don't think I can recall a Hungarian Officer ever before commanding so much attention.

 

Not even Polunin?

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13 hours ago, Nogoat said:

Having said that, and given the sheer complexity of the artifice the cast attempts to construct on stage, exceptional individual performances cannot guarantee an overall exceptional experience, and I didn't feel that happened last night. I don't think this is being overly harsh; there must be an element of 'luck' involved in everything and everyone working together seamlessly - and small issues can bully their way to the front of one's perceptions, like a small scratch on a vinyl record.

 

The biggest small issue, to me, was Bratfisch. He just didn't convince me in either his dancing or overall characterisation; maybe this is because, for me, James Hay had set a new standard the week before (and that is both a blessing and a curse - a blessing as I was lucky enough to see it, and a curse as having seen it I cannot help but compare!).

 

Yes, overall I didn't think it quite scaled the heights of the best I've seen - although coming close in many respects.  I've not been particularly taken with Dyer's Bratfisch (having seen it 3 times in this run), but this last time I found myself struck by his facial expression and his obvious desperation to try and avert what he could see was coming in Act III.  I was a lot closer than normal, so wonder if he just doesn't project as far as some others?  (I had the blessing/curse of not seeing James Hay this run - or Paul Kay - which may have coloured my perceptions somewhat.

 

Quote

I thought Bonelli's Rudolf was perfectly credible and his downward spiral into abject despair captured my sympathy; he is an exceptional actor

 

I found myself wishing last night that we could access the old Ballet.co forum of some 15 years ago: I'm sure some (re-?)viewers used to find his acting a bit perfunctory back then.  How things have changed!

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It is quite a switch from Mayerling to Bayadere..

Is there a thread yet? Can't wait.

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Sorry  to intrude, but I think I may inadvertently "reported a post" on this thread. My connection to the website is far from perfect, and sometimes jumps about. I may have clicked on something when I intended to merely scroll the view up!

 

I wouldn't have the arrogance to report any post - unless it were grossly offensive, which few if any of the posts on this supremely civilised forum have ever been.

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Alice bumping this thread has reminded of some additional thoughts I had about the ballet.  In addition to noting, as I did a few pages previously, just how much simple bourrées can speak (e.g. Act III, scene 2), it's amazing the number of ways a crooked arm can say "attend me, wife!" (Act I, scene 2, I suppose, technically).

 

Another thing I was aware of, from my close-up view the other night, was how well this ballet is constructed for the sightlines of the Royal Opera House, which MacMillan was obviously very familiar with.  Provided that you can see the whole of the front of the stage, there is relatively little that is vital which takes place outside an isosceles triangle, or possibly a trapezium, pointing towards the back of the stage, yet the whole stage is used.  Excellent stage design, and something a lot of other choreographers could take lessons from.

 

Finally, and rather more inconsequentially: why on earth are the police so incompetent that they can only round up the girls, never any of the punters (even the insignificant ones), given that I assume they are supposed to be raiding it to break up the Hungarian conspiracy?

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She is! The Royal Ballet has so much talent at the moment that I wish we could bottle it and freeze time for a while because it won’t last forever.

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Just watching bits of the old South Bank Show documentary. It says 'Countess Larisch brought Mary Vetsera to the Hofburg for the first time on November 5th, 1898' . 

Edited by Darlex
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I love the music arrangement of this production. Does anyone know if there's been a CD release? I've been searching but apparently not in the right places?

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2 hours ago, MissMonk said:

I love the music arrangement of this production. Does anyone know if there's been a CD release? I've been searching but apparently not in the right places?

Yes, I love it too, it's so right for the whole style of the ballet. There's never been a CD release, although much of the music is available in its original form on different CD s. 

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2 hours ago, MissMonk said:

I love the music arrangement of this production. Does anyone know if there's been a CD release? I've been searching but apparently not in the right places?

 

Me too, and I've also been looking in vain for a CD. :(

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Well, I thought last night's Bayadère might have cured me of this, but no, I wake up and I still have little snippets of the Mayerling score running through my brain.  It's not even what you might call "major" bits, more things like the maids' dance, the dance of the ladies-in-waiting in the Empress's bedchamber, and so on!

 

Which in turn merge into bits of La Fille Mal Gardée, so I guess it must be the Lanchbery connection at work there!

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Bayadere is not, for me, the most memorable or striking score but that wretched Bronze Idol music goes round and round and round- wish it wouldn't!

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Sorry, that has 0 to do with Mayerling- the Mayerling music is wonderful I do so agree - we owe a great deal to John Lanchbery.

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6 hours ago, MissMonk said:

I love the music arrangement of this production. Does anyone know if there's been a CD release? I've been searching but apparently not in the right places?

 

Isn't it possible to record the audio from your DVD - not that I've done so and I'd be the last person to suggest how it's done?  And you may be wanting a version without stage/audience noise but I think a CD 'concert performance' is unlikely.

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I have a new blog post up about the Soares/Cuthbertson cast of Mayerling - well, mainly about Soares but I couldn't resist discussing some of the other dancers as well.  It's here if anyone's interested (warning: it's quite long).

 

Also, on the topic of the music - I also find it so frustrating that it's never been released on CD.  I put the DVD on in the background sometimes if I want to hear it, but I'd love something more portable.  I think the music selected for the ballet fits it perfectly so it's disappointing that after all this time there's still nothing.

Edited by miriskusnik
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2 hours ago, miriskusnik said:

I have a new blog post up about the Soares/Cuthbertson cast of Mayerling - well, mainly about Soares but I couldn't resist discussing some of the other dancers as well.  It's here if anyone's interested (warning: it's quite long).

 

Also, on the topic of the music - I also find it so frustrating that it's never been released on CD.  I put the DVD on in the background sometimes if I want to hear it, but I'd love something more portable.  I think the music selected for the ballet fits it perfectly so it's disappointing that after all this time there's still nothing.

So agree with you about the music.  It would be great to have it.

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6 hours ago, miriskusnik said:

I have a new blog post up about the Soares/Cuthbertson cast of Mayerling - well, mainly about Soares but I couldn't resist discussing some of the other dancers as well.  It's here if anyone's interested (warning: it's quite long).

 

Also, on the topic of the music - I also find it so frustrating that it's never been released on CD.  I put the DVD on in the background sometimes if I want to hear it, but I'd love something more portable.  I think the music selected for the ballet fits it perfectly so it's disappointing that after all this time there's still nothing.

 

Thank you, miriskusnik - I'm amazed at the amount of detail you managed to remember!  I'd need a filmed version and to go back to it again and again to produce anything like that.  You're making me regret even more that I had to watch that cast from the amphi, without binoculars, because most of that passed me by.

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7 hours ago, miriskusnik said:

I have a new blog post up about the Soares/Cuthbertson cast of Mayerling - well, mainly about Soares but I couldn't resist discussing some of the other dancers as well.  It's here if anyone's interested (warning: it's quite long).

 

Fascinating blog, miriskusnik! Really makes me wish I'd seen Soares too. Thank you so much for sharing it.

 

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On 06/11/2018 at 18:37, alison said:

 

Thank you, miriskusnik - I'm amazed at the amount of detail you managed to remember!  I'd need a filmed version and to go back to it again and again to produce anything like that.  You're making me regret even more that I had to watch that cast from the amphi, without binoculars, because most of that passed me by.

 

On 06/11/2018 at 20:08, bridiem said:

 

Fascinating blog, miriskusnik! Really makes me wish I'd seen Soares too. Thank you so much for sharing it.

 

 

Thank you so much for your kind words, and thank you for reading!  I was very, very lucky to see this cast twice from front row center in the stalls, which is I guess ideally placed to catch the details.  It really helped to have two lengthy intervals to take notes during, too!

 

I thought Soares' take on Rudolf was really interesting and different from what I've seen from other dancers in this role, and I've seen very few reviews of this cast compared to others, so I was really keen to capture what I saw as best I could and get it out there into the conversation.

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Can't quite believe it but it turns out my local cinema is saving me a 7-hour round trip to watch Mayerling. Have rounded up as many as possible to come with me or meet me there in order to reassure the cinema peeps that there is a market for it!

 

As I didn't see Steven McRae as Rudolf last year, I am interested although would've happily seen Matthew Ball or Ryoichi Hirano - but would really have loved to have seen Bonelli and Morera or Soares and Cuthbertson again ..

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