Jump to content

Recommended Posts

 

7 hours ago, assoluta said:

The custom that you find disturbing has been common to most places with a developed balletomane audience. Long ago you could witness it in London. Unfortunately no more. You can witness it still at Bolshoi but, curiously, not at Mariinsky where the audience degenerated to the level of meeting and, frequently, parting with the dancers in near total silence, irrespective of the quality of their dancing.

 

 

I beg to differ: whatever the origins of this audience behaviour,  as far as the Bolshoi are concerned  we are talking about  claques. I cannot see that they are evidence of a "developed balletomane audience"  but rather they are entirely partisan in respect of the dancer they choose or -  some say -  are paid to support.  Watching Sunday's  performance in a cinema  I found the applause breaking out after a jump or a single lift intrusive and at worst irritating. I am pleased they have moved on from this behaviour at the Mariinsky, and I am sure their dancers enjoy a fulsome response from their audience - that is certainly what comes over from the comments  on the Russian Ballet Friends forum and video clips.  

  • Like 8

Share this post


Link to post
Share on other sites
On 22/01/2019 at 08:17, Geoff said:

 

Dead parrots? After being nailed to poles and stuck on wrists? They were just resting.

 

 

She was also given the interval interview, so is certainly being pushed by management. I rather liked the acting.

 

I unfortunately missed the interval interview, but the first viewing of Olga Marchenkova was an added bonus and one of the highlights of the evening. Management will do well to push such a talent.

Share this post


Link to post
Share on other sites
14 hours ago, assoluta said:

All classical ballet is, for some, "very old-fasioned".

 

The custom that you find disturbing has been common to most places with a developed balletomane audience. Long ago you could witness it in London. Unfortunately no more. You can witness it still at Bolshoi but, curiously, not at Mariinsky where the audience degenerated to the level of meeting and, frequently, parting with the dancers in near total silence, irrespective of the quality of their dancing.

 

I meant that I found aspects of the production design were old-fashioned, not the style of the dancing. I was particularly thinking of the group of dancers appearing in blackface.

 

I said I found it disconcerting, not disturbing i.e. it's not something I've heard before (as I stated, this is the first Bolshoi livestream I've watched) so I was suprised to hear it. However I did also find it disturbing in as far as it interrupted the music. I'm glad that it went out of fashion in London, presumably at some point before the early 90s when I first saw ballet. I am likewise glad that the habit of opera singers bowing after arias had largely died out in this country before I started operagoing.

  • Like 1

Share this post


Link to post
Share on other sites

I just hope that the Bolshoi's London audience restricts their applause to the first entry by any leading dancer and doesn't clap them every time they return to the stage or execute a difficult or flashy move.

  • Like 3

Share this post


Link to post
Share on other sites
18 hours ago, BeauxArts said:

I beg to differ: whatever the origins of this audience behaviour,  as far as the Bolshoi are concerned  we are talking about  claques. I cannot see that they are evidence of a "developed balletomane audience"  but rather they are entirely partisan in respect of the dancer they choose or -  some say -  are paid to support.  Watching Sunday's  performance in a cinema  I found the applause breaking out after a jump or a single lift intrusive and at worst irritating. I am pleased they have moved on from this behaviour at the Mariinsky, and I am sure their dancers enjoy a fulsome response from their audience - that is certainly what comes over from the comments  on the Russian Ballet Friends forum and video clips.  

 

There is a huge difference between a claque and a "developed balletomane audience" and I was most certainly talking not about claques. I am not pleased at all, neither my professional colleagues, with dead silence greeting the dancers and near total silence when they finish, this is what I recently witnessed at the Mariinsky. For us it a shocking barbarity. Re. your "I am sure their dancers enjoy a fulsome response from their audience" this remains, unfortunately, a wishful thinking. The persons you are referring to on that infamous forum are as partisan as one can be.

Share this post


Link to post
Share on other sites

Apologies, in advance, for trivialising what is clearly a serious issue to the posters on this topic but am I the only one who reads the words 'developed balletomane audience' as a phrase that the ROH marketers might wave about in its campaign to exile all cash-strapped, ageing, multi-attendees?

  • Like 2

Share this post


Link to post
Share on other sites
On 21/01/2019 at 19:16, Dawnstar said:

 

Knowing the Bolshoi's reputation I thought the dancing would be brilliant and I thought it was indeed extremely good, but no better than the RB's. The corps in the Kingdom of the Shades were not immune to the occasional slight wobble in all those arabesques (I lost count somewhere about 45) so even the Russians evidently can't manage to produce absolute perfection!

 

I was lucky enough to be in a box right next to the stage courtesy of DS whom I was visiting and having never seen Bayadere before (as I've said before I'm a total ballet newbie) I was actually blown away by the shades- found it hard to believe they could be bettered as they were so perfectly in time and elegant. After reading Dawnstars comment I looked at some YT clips of RB and have to say (I'm going to be controversial) thought RB corps were infinitely less impressive - certainly in terms of being in time with legs and arms at the same angles etc. Also didn't like their excessive bending over compared to the Bolshoi dancers who were more contained (and seemed to me therefore almost more ethereal).

 

But perhaps its the difference between seeing live and seeing a recording or maybe just that difference in style (I honestly haven't seen much of RB and have really only seen ENB or mostly the Russian companies live so Russian style is my kind of benchmark).

 

I agree there wasn't all that much chemistry between the leads, the children capering around in blackface were quite appalling, and I was particularly unimpressed with the bronze idol (maybe he was having an off day). Loved the 3 shades especially Shrainer though the conductor seemed to be rattling along too fast for her liquid movement (she has the same quality I noticed in Sarafanov when I was lucky enough to see him in the Madrid gala), and also really liked the soloist who danced with the little girls with flowers in her hair. Overall it was a great spectacle (and I had a very famous principal dancer and the conductors mother sitting behind me so felt in exalted company and therefore inclined to be easily please :) )...

  • Like 4

Share this post


Link to post
Share on other sites

When our Dance group went  to St Petersburg two years ago a few of the group flew to Moscow first and then did the train thing.

Whilst in Moscow they went to the Bolshoi ( the object of going out earlier) and saw Bayadere.

Well it wasn't the performance being reviewed here of course ....but they were completely moved to tears by the Shades scene and said it was really beautiful one of the best things they had ever seen at the Ballet. 

Well it was their first time at the Bolshoi which can be a big overwhelming in itself I guess but I think any corps at the standard of the Royal Bolshoi and Mariinsky can be a total knock out on an especially good night! 

 

I dont mind mind applause at certain points but not if it breaks up the mood of certain ballets or every time a dancer does more than two turns etc etc. 

I think it's nice to have lots of applause at the end and therefore perhaps lengthier curtain calls to show ones appreciation of the dancing and I like the ROH for allowing this. The Coli is not so good however!! 

 

 

 

 

 

Share this post


Link to post
Share on other sites
2 hours ago, CeliB said:

After reading Dawnstars comment I looked at some YT clips of RB and have to say (I'm going to be controversial) thought RB corps were infinitely less impressive - certainly in terms of being in time with legs and arms at the same angles etc. 

 

I tend to agree, CeliB.

Was your DS on stage on Sunday?

Share this post


Link to post
Share on other sites
2 hours ago, LinMM said:

I dont mind mind applause at certain points but not if it breaks up the mood of certain ballets or every time a dancer does more than two turns etc etc.

 

During the golden era of Classical Ballet it was not uncommon for the audience to request an encore of a pas that was particularly moving or brilliant.

  • Like 1

Share this post


Link to post
Share on other sites
2 hours ago, capybara said:

 

I tend to agree, CeliB.

Was your DS on stage on Sunday?

 

No he was perched on the balcony wall next to me (we had a joint ticket with a seat for me and a 'let this one in he's an honoured artist of the Bolshoi' designation for him- which wasn't quite honourable enough for a chair! but then the kind people in the next box ushered him into a spare seat with them, so all good :)

It was nice for him to watch as an audience member (he doesn't often do this) and he says it does feel very different and makes him remember all over again just why he wants to be a dancer. Which is odd because you'd think being on stage would do that more - but perhaps when you are so young all you think about is not stuffing it up!!!

  • Like 3

Share this post


Link to post
Share on other sites
6 hours ago, CeliB said:

I was lucky enough to be in a box right next to the stage courtesy of DS whom I was visiting and having never seen Bayadere before (as I've said before I'm a total ballet newbie) I was actually blown away by the shades- found it hard to believe they could be bettered as they were so perfectly in time and elegant. After reading Dawnstars comment I looked at some YT clips of RB and have to say (I'm going to be controversial) thought RB corps were infinitely less impressive - certainly in terms of being in time with legs and arms at the same angles etc. Also didn't like their excessive bending over compared to the Bolshoi dancers who were more contained (and seemed to me therefore almost more ethereal).

 

I have zero technical knowledge of ballet so I was going entirely by any visible wobbles as I don't know what the correct arm & leg angles should be. Perhaps the close-ups weren't flattering in that respect or my expectations of perfection were unrealistic. I was actually surprised there were so many close-up shots as it differentiated the dancers rather than having them appear as an identical group, which I thought was the point of the scene.

  • Like 2

Share this post


Link to post
Share on other sites

I would agree with you there Dawnstar ....maybe the odd closeup ....but the point of the shades is to see the group in unison ....exactly how it comes across from a theatre seat! 

  • Like 2

Share this post


Link to post
Share on other sites

A real spectacle, from the introduction taking us through the Director's box- into a grand production,  with sumptuous sets- I loved the beautiful floor- and costumes.  Smirnova- perhaps projecting a rather over-confident character for Aurora but so beautiful-  and Stepanova  technically  very fine, and best of all  Semyon Chudin who combines romantic yearning of the most lyrical kind with sensational variations in the grand pas.

 

  • Like 1

Share this post


Link to post
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

×
×
  • Create New...