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Mandy Kent

TRIO Concert Dance Linbury Theatre ROH Alessandra Ferri

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Thurs 24th January.....

The seemingly ageless Alessandra Ferri, partnered by Herman Cornejo ( ABT) and accompanied by pianist Bruce Levingston presented an evening of quiet, subtle perfection.

The danced pieces alternated with music by composers including Ligeti, Chopin and Glass, with the lighting kept low so you felt in an almost dream like state.

In a series of duets and solo's, the dancers brought a noble beauty to short pieces by choreographers including McGregor and Maliphant. The dancing was slow and perfectly controlled.

My favourite was Maliphant's Entwine, illuminated by a 'box' of light, creating an illusion of water flowing and rippling as the dancers entwined and came apart seamlessly.    

As I did not have a programme I cannot say who choreographed the final piece in which the dancers ended in a kissing embrace with Cornejo spinning Ferri around and round, it was thrilling to watch, someone please enlighten me. I'd be interested in hearing other views but I though the new Linbury Theatre a perfect setting for this Concert Dance.

Edited by Mandy Kent
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Mandy:  Checking back through Links reviews, it's an extract from an Angelin Preljocaj ballet, Le Parc.

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Oh Mandy, that sounds wonderful.

 

Thanks for reporting back ... I wish I could have gone.

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So Le Parc gets to the ROH at last!  (for newer readers, Ross Stretton announced Le Parc for his second season at the RB but when he left suddenly, Monica Mason cancelled it - I've always wished she hadn't.)

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43 minutes ago, Ian Macmillan said:

Mandy:  Checking back through Links reviews, it's an extract from an Angelin Preljocaj ballet, Le Parc.

Thank you Ian, I just enjoyed reading the super review in dancetabs which you linked to. Seems I'm wrong about the Chopin, not sure?

The excerpt from Le Parc was gorgeous so I think you are right Jane S, in wanting to see it at the ROH !

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I can’t go into details (as I’ve mostly forgotten it already) but I didn’t enjoy this show at all, apart from the fairly promising “first movement” - I didn’t buy a programme so can’t tell you who choreographed the dances other than Le Parc.

 

I didn’t like Bruce Levingston’s playing - thought the Scarlatti in particular was downright bad - and hated the Preljocaj, with the exception of the spinning around bit: it was just too overtly sexualised for my tastes, I guess. (These days I find that kind of thing downright creepy, especially from a male choreographer.)

 

I appreciate that I’m probably in a minority and the critics seemed to like it, but I thought it a waste of two evidently wonderful dancers.

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Oh, and IMO Le Parc is not worthy of its music, one of Mozart's very best movements.

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I forgot to mention that there was an interview with Ferri on the BBC 10 O'clock news a few nights ago - possibly Tuesday?  I suspect it was only on the local London news, and I'm not sure whether it will still be available online.

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After some looking, we managed to get a programme at the end of the performance. The full credits are:

 

1. Gyorgy Ligeti : Musica Ricercata no1

2. Flair : Choreography - Demis Volpi  ; Music - Gyorgy Ligeti : Musica Ricercata no2

3. Philip Glass : Etude no2

4. Momentum : Choreography - Herman Cornejo ; Music - Philip Glass : Etude no16

5. Domenico Scarlatti : Sonata in A minor K54

6. Witness : Choreography - Wayne McGregor ; Music - Nils Frahm : Immerse!

7. Erik Satie : Gnossienne no4

8. JS Bach : Arrangement for piano by Alexander Siloti : Prelude in B minor

9. Senza Tempo : Choreography - Fang-Yi Sheu ; Music - JS Bach Gottes Zeit ist die Allerbeste Zeit

10. Philip Glass : Etudes nos 5+6

11. Entwine : Choreography - Russell Maliphant ; Music - Philip Glass : Metamorphosis Two

12. Frederic Chopin : Nocturne in B flat minor no1 op9

13 from Le Parc : Choreography - Angelin Preljocaj ; Music - WA Mozart : Adagio from Concerto no 23 in A major K488

 

In the Q&A afterwards they said they might change the incidental music if the mood took them!

 

 

 

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4 hours ago, Mandy Kent said:

As I did not have a programme I cannot say who choreographed the final piece in which the dancers ended in a kissing embrace with Cornejo spinning Ferri around and round, it was thrilling to watch, someone please enlighten me.

Paris Opera Ballet brought this piece (identified upthread as, Le Parc) to Sadler's Wells - I think it was around 2005. I remember the moment, described by Mandy, was the only part of the ballet I enjoyed. I had been so excited to see the dancers of the POB, but was left wishing I could have seen them in something worthy of them.

In my opinion, cancelling Le Parc for the Royal Ballet was a judgment in good taste by Monica Mason. 

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I enjoyed the programme much more than some, the dancing and piano playing were beautiful, and I left on a high.

 

However, my reason for posting is a minor detail that no-one's mentioned, and not to do with the performance itself. At the end of the opening night all 3 performers were presented with a huge bouquet (I've no idea if that happened at subsequent performances). A member of staff told me that it was the first time that men had been presented with flowers at the ROH (Herman Cornejo and pianist Bruce Levington) and that until then there had been a house rule against presenting men with bouquets. I have no idea if that is true but the woman who told me volunteered the information excitedly.

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2 hours ago, SheilaC said:

.................until then there had been a house rule against presenting men with bouquets. I have no idea if that is true but the woman who told me volunteered the information excitedly.

 

There is/was definitely a 'house rule' about not presenting men with bouquets/presents on stage. I wrote to the RB some years back and received a detailed letter back from the Associate Director explaining that it was an ROH convention for that not to happen, which applied to the Opera as well as the Ballet. However, I have seen male dancers coming out with flowers and have even sent the occasional bouquet to a man myself. To say that my most recent venture in this respect (two years ago in relation to a new work) went down well is an understatement.

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I recall a lively discussion on the forum about the 'flowers for men' issue a year or two back- I think 90% of us thought it was jolly high time this changed.

 

I can now spend a happy hour over my cup of early grey musing on which of the principal men will get the first posy from me. and what flowers would be most suitable.......

🙂

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I enjoyed last nights performance a lot more than my first visit - largely, I think, because I had a much better view! The sight lines from the standing places (and a friend said the same if the seats in front of me) in the upper circle are AWFUL. The bulge that rounds off the corner of the level, directly above the stage, cut off about 25% of the stage and the extended wing cut into a good bit too. As the piano occupied about another 25%, and the gap behind it wasn’t used at all, I missed a lot. Whinge over

 

for my eyes, it was a bit like watching ballet in slow motion. Achingly beautiful at times, I often found myself holding my breath not wishing to break the spell. I did find the music a bit one-trick-pony, as it seemed all the same on first listen, though I did enjoy it more second time - a bit more familiarity I guess. Loved especially the MacGregor piece, and Ferri’s solo (Fang-Yi Sheu? I was programme free, as a fiver seemed a lot for what you got!). 

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As this was not a Royal Ballet production, I would put no score on what happened with post-performance flowers having any effect on the main stage.  Having said that, the woman who said this was the first time men had been presented with flowers at ROH was incorrect. Men have received flowers on the main stage at farewell performances and also when they have performed en travestie.

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Just want to say that I agree with Dave above that the SIDE (B's) standing in the new Linbury Theatre arrangement are - literally - for the birds.  You would need seeming wings to propel yourself upwards if you were to have anything resembling a clear/proper view.  I heard one person mutter: 'You get less than you pay for'.  Caveat Emptor.  

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Yes, they are absolutely dreadful.  I checked them out during Open House weekend, and was quite appalled at how little of the stage you could see.

 

It's been quite galling over the last few days to read the critics enthusing about how marvellous the new theatre is ... :( 

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I went to this on Friday evening.

I hadn't really taken the title of the programme in as it was literally half piano concert and half dance!! 

After the first couple of pieces I got into the mood of it and really enjoyed it as I just loved all the music at least but the dancing wasn't bad either! 

I felt like I was at a sort of soirée and the Linbury seemed perfect for the more intimate atmosphere.

My favourite piece was Entwine....choreography Russell Maliphant and music Philip Glass.... beautifully danced and I enjoyed the series of repeat movements as reflected in the music. 

I also enjoyed the piece Ferri danced by herself to lovely Bach music.

Im not sure about the last piece Le Parc it had some nice moments ....but the Mozart piece it was danced to with added cello and I think two violins ....may have only been one ....added to the piano was again beautifully played so a wonderful bonus to the dance! 

Overall it was an extremely pleasant way of spending just over an hour in the theatre.

I was sitting right on the end of row A in the circle .....so extreme right hand side and when the dancers were right beneath I couldn't see them and would have had to stand right up in order to do so .....but luckily they weren't in that corner too often! And anyway in a couple of pieces I was happy to just watch the pianist!! He had a lot of habits that I remember my piano teacher hitting on the head very quickly!! But enjoyed his playing and could see he had a close connection to the dancers. There is quite a lengthy interview with him in the programme.

I don't know where the standing is in the Linbury ....is this in the upper circle? But can imagine the problem of not being able to see over the edge where it curves around....very frustrating. 

However as a whole I do think they have made a good job of the Linbury. I didn't know it very well before the work having only been twice! .....but I liked the feel of of the new theatre.

I went into this performance completely blind as to what was going to happen as there was no interval so had to get programme at the end but I wouldn't mind more events like this.

 

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