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The Royal Ballet: La Bayadère, London, November 2018


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17 hours ago, Darlex said:

 I loved Naghdi 's extensions and  luscious port de bras, but I wish that both she and Harrod, in the same solo, would use a little more head and epaulement towards the end of the solo in the attitudes devant to give it a little more sense of joy and pride. 

 

Does Harrod dance the second variation? I’ve only seen her in the third one which Takada dances in the first cast.

 

The other second Shades I’ve seen are Magri and Kaneko.

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9 hours ago, JohnS said:

 

If the ROH accepts that the scrim detracts from the performance for cinema audiences, what's the rationale for treating theatre audiences differently?  And I very much appreciate capybara's point about the dancers feeling closer to the audience.  I've posted a question on the ROH's news website.  

Never having seen La Bayadere in the theatre I'm very much looking forward to Saturday's matinee and the cinema relay, appetite truly whetted by the various rehearsal videos from the recent Insight relay and World Ballet Day ... and by the many posts here for which many thanks.

Please let us know their response as I detest scrims!  Hoping tomorrow's matinee does not have the scrim except for the necessary part.

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17 hours ago, Darlex said:

As usual, I felt that Yudes outshone the more senior Acri as the Fakir. I wish Yudes could have a crack at the Blue Boy in Patineurs - bring on those extra shows! 

Is that you wishing or are they putting more on?!

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I am rather late posting my thoughts about the performance on 5 November but here goes. I have admired the technical brilliance of the charismatic Cesar Corrales since he burst onto the stage in the Russian Dance in Eagling’s ‘Nutcracker’ for ENB at the Coliseum in 2014, barely eighteen years of age.  Since then, it has been a pleasure to watch him develop his artistry further, ending his time with ENB with electrifying performances as the ‘jeune homme’ this January.  It was therefore very gratifying to see that Kevin O’Hare has such faith in him that he partnered him with not one but two of the Royal Ballet’s leading ladies for his debut in a major role with the company, only a few weeks after his twenty-second birthday, and that this faith was rewarded with a performance of all the dramatic depth and effortless technique I have come to expect from Corrales. From the moment he stepped onto the stage (and yes, dancers do appreciate applause on their entrance, if it does not disrupt the mood of the piece, so that they can feel the audience is ‘with’ them), he was every inch a warrior prince with his regal bearing and elegant mime. Although the choreography does not allow for all the pyrotechnics of which he is capable, there was plenty to admire in the powerful virility of his dancing and, in particular, his perfectly placed turns and panther-like landings from jumps.  I particularly liked his first scene with Natalia Osipova's Nikiya, in which I thought she was glorious, and I thought there was a wonderful chemistry between the two of them.  Osipova initially impressed with her beautifully expressive body (and astonishingly deep backbends) and then her vulnerability in her confrontation with Gamzatti.  Where I felt she was not so successful was in the Kingdom of Shades with its demands for complete purity of classical technique and line (and I am lucky enough to have seen Markarova herself in this role in her prime).  The difficulties of the scarf pas de deux were surmounted with ease, with Corrales giving just the right amount of tension to the scarf, but too often I noticed a loss of turnout or untidy footwork from Osipova, not helped by her unflattering pointe shoes which gave her feet a rather blunted look.  So, unlike Marianela Nuñez, whom I saw at the dress rehearsal, she did not seem as comfortable as Nikiya as she had as Gamzatti.  With her impeccable technique and style, Nuñez's dancing was an absolute feast for the eyes and I loved her interpretation of Gamzatti: all surface smiles and graciousness but with the deadliness of a cobra ready to strike when scorned.  In the scene where Nikiya is ordered to dance for Gamzatti and Solor, I was struck by Nuñez's almost gloating smile contrasted with Corrales's combination of anguish and anger as he was forced to sit beside her while his beloved danced.  In a ballet which does not lend itself to deep characterisation, I felt these three leads made their characters thoroughly believable, three-dimensional people.  When the production was new for the company, I remember the Bronze Idol's solo was one of its highlights but i was decidedly underwhelmed at this performance.  Likewise, I was not as impressed by the Shades as the rest of the audience seemed to be, noticing arabesques at different heights, body angles not quite identical and legs closing at slightly different times, unlike the corps de ballet in the 1970s and 1980s whose precision in the Nureyev staging was so breathtaking that it won them an award.  Every time I think I might be remembering past performances through rose-coloured glasses, I find a film clip or DVD which shows that yes, they really were that good!

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2 hours ago, MrsBBB said:

 

Does Harrod dance the second variation? I’ve only seen her in the third one which Takada dances in the first cast.

 

The other second Shades I’ve seen are Magri and Kaneko.

Sorry and apologies to Naghdi. It's the solo danced by Takada and Harrod. Used to be the second solo, now the third. Thanks for pointing it out MrsBBB.

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1 hour ago, Irmgard said:

 Likewise, I was not as impressed by the Shades as the rest of the audience seemed to be, noticing arabesques at different heights, body angles not quite identical and legs closing at slightly different times, unlike the corps de ballet in the 1970s and 1980s whose precision in the Nureyev staging was so breathtaking that it won them an award.  Every time I think I might be remembering past performances through rose-coloured glasses, I find a film clip or DVD which shows that yes, they really were that good!

I didn't notice arabesques at different heights but I definitely noticed different angles of heads. Also after each arabesque on the ramp the dancers plie in 5th. On the stage itself most plie in 4th, but every so often one plies in 5th - maybe to regulate spacing issues but seems a funny way to do it. I think what impressed me what the total absence of wobbles that I remember seeing since the beginning of Markarova's production at the RB. And very uniform lines and spacing, and hearing the music together. 

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11 hours ago, Darlex said:

I didn't notice arabesques at different heights but I definitely noticed different angles of heads. Also after each arabesque on the ramp the dancers plie in 5th. On the stage itself most plie in 4th, but every so often one plies in 5th - maybe to regulate spacing issues but seems a funny way to do it. I think what impressed me what the total absence of wobbles that I remember seeing since the beginning of Markarova's production at the RB. And very uniform lines and spacing, and hearing the music together. 

I didn't mean in the actual entrance there were arabesques of different heights but later on, particularly when they were in lines at the side of the stage.  I also noticed the different pliés in 4th and 5th but, as you say, this may have been a spacing thing.  I am a huge admirer of Makarova but I still prefer Nureyev ‘s staging of the Kingdom of Shades and how glorious (and more difficult!) that was, not least because of the double ramp at the beginning which created a truly magical effect.  In his version, each girl entered, stepping immediately into arabesque fondu instead of on a straight leg and then going into a plié.  They then went through plié in 4th to tendu devant with a most wonderful sweeping ports de bras and body bend which filled out the music beautifully but was, of course, much more difficult to do in complete unison, and that is why I salute the dancers of that era who always danced it with such serenity.

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Depending on the angle you are looking at the stage, you can sometimes see the “weave” of the scrim, which is highly annoying when it is down for such a long time as in La Bayadère. It’s like watching through a net curtain. No wait, it is watching through a net curtain! 

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38 minutes ago, Rob S said:

I guess it diffuses the details which adds to what the Shades represent....but I hate to think how it looks from the amphitheatre

 

I was in the mid-Amphi on Monday and I didn't notice it apart from the times I was meant to. (Unless of course it *wasn't* there after all...)

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3 hours ago, Irmgard said:

I didn't mean in the actual entrance there were arabesques of different heights but later on, particularly when they were in lines at the side of the stage.  I also noticed the different pliés in 4th and 5th but, as you say, this may have been a spacing thing.  I am a huge admirer of Makarova but I still prefer Nureyev ‘s staging of the Kingdom of Shades and how glorious (and more difficult!) that was, not least because of the double ramp at the beginning which created a truly magical effect.  In his version, each girl entered, stepping immediately into arabesque fondu instead of on a straight leg and then going into a plié.  They then went through plié in 4th to tendu devant with a most wonderful sweeping ports de bras and body bend which filled out the music beautifully but was, of course, much more difficult to do in complete unison, and that is why I salute the dancers of that era who always danced it with such serenity.

I was talking with a former company member who also remembers the Nureyev version as being more difficult than the Markarova for exactly the reasons you have described, Irmgard. I think by stepping directly into arabesque fondu, a less regimented, softer effect is created. I do wish that the company would also present Nureyev 's one Act version as part of a triple bill, like they used to. Also the costumes were more beautiful. I had forgotten the double ramp - how wonderful, especially with 32 shades. 

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At today’s matinee in Act 3 the scrim was only lowered when it was needed, when the temple crumbled.  Maybe someone is listening to the audience!  This showed that it can be done very unobtrusively, so no need to keep it down the whole time.  Now if only they would do the same in Act 2...

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I saw the Takada/McRae/Naghdi cast this afternoon. All three danced superbly, but I didn't feel any real connection between any of them - none of them really made me believe in their characters. Which sounds harsh given how hard they all worked, but it was how I felt. It turned into a spectacle (which of course it is too) rather than a real drama (or tragedy). Still very impressive, but not moving. I also struggled to believe in Yasmine Naghdi as a (sort of) baddy - she looked too wholesome, somehow! I'd rather see her as Nikiya in fact. The corps were terrific again, and I enjoyed Alastair Marriott's imposing High Brahmin. I also really liked Mayara Magri's Shade - I hope to see her do Swan Lake before too long.

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This afternoon's was the fourth cast that I've seen and it was led by two simply wonderful ballerinas. Akane Takada has an amazing, ethereal quality which is completely entrancing and Yasmine Naghdi offered her own brand of allure, enticing Solor with her dancing as well as her characterisation (but, perhaps, not quite wicked enough on the inside!).

 

Unfortunately, Steven McRae clearly did not see the charms of either of them - in fact, from where I was sitting, he did not seem to relate to them at all.  I haven't seen him dance a classical role for a while but I found him disappointing on this occasion. It was fair enough that he adapted some of the choreography (maybe to accommodate a hangover from injury) but his execution wasn't as sharp as I remember and I can't understand why he chose to insert an ugly, flashy, move into Solor's Act 2 solo - it was incompatible with the mood at that moment.

 

I enjoyed seeing a different line-up of Shades and Grand Pas ladies, another Bronze Idol, and newcomers to the Royal Ballet taking their full part in corps roles. And no scrim in Act 3 until the moment it was needed! So, all in all, another really good show on the wettest of wet days.

 

 

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I wouldn't necessarily mind the scrim being down during the entry of the Shades, to give a more ghostly effect (we really don't need to be identifying individual corps members!), but certainly don't want to watch the whole act through it.

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7 minutes ago, capybara said:

 

Unfortunately, Steven McRae clearly did not see the charms of either of them - in fact, from where I was sitting, he did not seem to relate to them at all.  I haven't seen him dance a classical role for a while but I found him disappointing on this occasion. It was fair enough that he adapted some of the choreography (maybe to accommodate a hangover from injury) but his execution wasn't as sharp as I remember and I can't understand why he chose to insert an ugly, flashy, move into Solor's Act 2 solo - it was incompatible with the mood at that moment.

 

 

Yes, I wondered about that move, but then I decided it could perhaps be interpreted as an expression of Solor's tormented regret etc - sort of turning himself inside out or punishing himself. Or, of course, it could just have been a flashy move...

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Naghdi did say during her Insight interview that she wanted to bring out the more vulnerable side of Gamzatti. She said something along the line of "There is that harsh and bitchy side to Gamzatti but I hope to bring out her more vulnerable and feminine side, after all she is in love with Solor and she feels hurt that his feelings for her are not reciprocal". As the audience we may have a preset idea of who Gamzatti is but based on what Naghdi said she did put her own stamp on her Gamzatti characterisation. She managed to make me feel sad for her in Act 3, she lost the man she's in love with to a temple dancer...

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The first time I’ve seen La Bayadere in the theatre and in many ways I very much enjoyed the performance, particularly Act 2 where I thought the Shades fabulous.  I loved Akane Takada’s Nikiya and Steven McRae’s Solor - wonderful technique (but I fully respect others’ views on the authenticity of Steven McRae’s steps).  I found Akane most affecting, certainly moving me to tears, and I’m really pleased to have had chance to thank her at the stage door.  I find the role of Gamzatti pretty unsympathetic and I wasn't convinced by Yasmine Naghdi’s portrayal, wondering if there might have been more attack in Act 1.  As bridiem says I imagine Yasmine would make a wonderful Nikiya.  But is anyone’s Gamzatti a match for their Nikiya - I must look back at the posts on Nunez/Osipova and their shared roles?  I’m afraid I felt slightly awkward when Yasmine's bouquets towered over Akane’s but of course we all have our favourites.

 

I find the oriental setting just too hackneyed and would love to have ditched the High Brahmin’s retinue.  And the costumes do no favours at all for Alastair Marriott.  Indeed in Act 1 at times I did think perhaps there was a valid reason why I’d never seen Bayadere in the theatre.

 

As regards the scrim, I was pleased it only appeared at the end of Act 3 for the destruction of the temple.  Sim refers to the scrim in Act 2 but the only scrim I was aware of was at the back of the stage, just for Nikiya’s image.  I thought Act 2 was fine and from my seat (H4 in the stalls), the Shades were crystal clear and utterly magical.  I very much enjoyed the three lead Shades, Mayara Magri particularly impressive.  Highlights for me - definitely Akane Takada and the Shades.  And I’ll certainly look forward to seeing the cinema relay.

 

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29 minutes ago, bridiem said:

 

Yes, I wondered about that move, but then I decided it could perhaps be interpreted as an expression of Solor's tormented regret etc - sort of turning himself inside out or punishing himself. Or, of course, it could just have been a flashy move...

 

A good interpretation, but it jarred on me, I'm afraid.

Maybe McRae could deploy that move when he becomes Skimbleshanks?

 

3 minutes ago, Xandra Newman said:

She managed to make me feel sad for her in Act 3, she lost the man she's in love with to a temple dancer...

 

I'd forgotten that interview as I was having wifi problems during the Insight. But Naghdi certainly got that across clearly  to me too in Act 3.

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22 minutes ago, capybara said:

This afternoon's was the fourth cast that I've seen and it was led by two simply wonderful ballerinas. Akane Takada has an amazing, ethereal quality which is completely entrancing and Yasmine Naghdi offered her own brand of allure, enticing Solor with her dancing as well as her characterisation (but, perhaps, not quite wicked enough on the inside!).

Completely agree capybara. Beautiful dancing from Yasmine, and I think she is developing the wickedness! I particularly loved Akane's lyrical and emotional interpretation of Nikiya. Strong depictions of the contrast in position between  the humble temple dancer/water carrier, and the daughter of the Rajah. Just one example was how Akane stares in horror and mortification at her own hands as she realises how close she came to stabbing her high born rival and how precarious her position has become. 

 

I was also very impressed with McRae's dancing ...this is the first live production I have seen him in,  and if this is him a little below par, he must be amazing at full throttle! I thought his classical acting style as the noble warrior was spot on.

 

As on Tuesday, there seemed to be no scrim issues..it just came down for the temple collapse and stayed for the afterlife ending.

 

One dropped candle was adroitly recovered by another dancer so that this beautiful sequence continued seamlessly!

 

Fronted by the ever reliable  Romany Pajdak the shades were exemplary again. Each of these corps dancers really deserves an individual plaudit...just a word, though, for the delightful Isabella Gasparini, one of the pas d'action girls this time.

 

Another wonderful performance all round!

 

 

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20 minutes ago, JohnS said:

I found Akane most affecting, certainly moving me to tears, and I’m really pleased to have had chance to thank her at the stage door.

I was getting a little damp in the eyes too. And I am pretty jealous, John, of your stage door experience! Any pictures or other feedback from that encounter ?

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28 minutes ago, JohnS said:

Sim refers to the scrim in Act 2 but the only scrim I was aware of was at the back of the stage, just for Nikiya’s image

I didn't see any projection  scrim in Act 2 and this seemed to be confirmed by the lack of any moving clouds. And wasn't it actually Akane herself on a dias as Nikiya behind some netting, rather than an image?

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Many thanks Richard

 

I'd had a post performance early supper at La Ballerina (a very early 5:00am breakfast etc) and with plenty of time for my train home I stopped by the stage door to see if there was any activity.  I spoke to Steven McRae, saw Yasmine and her family with lots of bouquets waiting for a taxi, and had a quick word with Akane (and Ben).  I thought she was utterly exquisite this afternoon and was keen just to say 'thank you' - I wish I'd arranged for a bouquet.

 

Yes it was Akane not an image - I'd meant to say that I'd only noticed the scrim/screen or whatever at the back of the stage and Nikiya appears when the lighting picks her out.

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I saw the matinee yesterday and really enjoyed it - thankfully no scrim as well!   The Shades were lovely and thank you for telling me it was Romany who lead the Shades. Everything has been said about the performance but I would add that I thought the costumes were gorgeous too.  There was an audible gasp when Yasmine was brought her armfuls of flowers!  I felt a bit sorry for Akane!

Some photos from the curtain call.

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DruWVZlWwAAhwW7.jpg

Edited by Don Q Fan
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