bangorballetboy Posted December 21, 2014 Share Posted December 21, 2014 THAT artistry which the tax payers' money has unquestionably bought. Unquestionably? There was an awful lot of benefactors' money pumped into Dpn Q, so I wouldn't be so sure! 2 Link to comment Share on other sites More sharing options...
Vanartus Posted December 21, 2014 Share Posted December 21, 2014 Still musing about the "fall" and the role the new orchestration played (cf Bruce Wall). I think you're right. It may well be me retro-interpreting but I felt something was off (ok don't ask me what) with some aspect of her performance from the very start. Not quality of course but something wasn't quite right. (Again don't ask me what) I can't work out whether she was ahead or behind the tempi. But you're right - if it were an Agatha Christie I'd say it was the tempi "wot did it!". Link to comment Share on other sites More sharing options...
Beryl H Posted December 21, 2014 Share Posted December 21, 2014 I'm glad to hear the third act was successful last night, I didn't stay after the second act as it was already 9.45pm but really wanted to see Claire Calvert and Francesca Hayward, who were both well worth waiting for! Such a shame for Natalia Osipova who seems to be ill fated at the ROH, but what a well deserved triumph for Akane Takada, who I saw 2 weeks ago with Alexander Campbell and hope to see in 2 week's time with Vadim Muntagirov! I presume Matthew Golding's partnering also played a part in the success Link to comment Share on other sites More sharing options...
Mummykool Posted December 21, 2014 Share Posted December 21, 2014 I'm in total agreement with both Bruce re the orchestration of this version. Why dumb down the music if you need to get dancers to shout to give it life? Give me the ABT or Bolshoi version any day. I think Floss neatly summed up all my feelings about the costumes too (so why does Kitri wear such big black knickers?) The only reason I bought tickets this time around was the draw of seeing Osipova dance Kitri. Until the fall (and even after) Osipova was truly magnificent and brought life to what has to be the dullest Don Q production ever. She was on fire and the memory of that incredible thrown twist lift will linger for a long time. I was watching with fairly high powered binoculars from near the front of the amphi and I thought her foot went away from her as if she skidded. I'm not so sure it wasn't due to that dreaded floor again. I feel so sorry for her and I'm sure we all wish her a speedy recovery. I am also hoping Bruce is being a pessimist and that she will be back on stage sooner rather than later. 2 Link to comment Share on other sites More sharing options...
Jan McNulty Posted December 21, 2014 Share Posted December 21, 2014 Hello Vanartus and welcome to the Forum! I hope you will continue to contribute. Link to comment Share on other sites More sharing options...
Don Q Fan Posted December 21, 2014 Share Posted December 21, 2014 (edited) I am a bit saddened by some of the above comments about RB's DonQ. The definitive version in my book is the current Bolshoi version. I don't think it can be beaten but I feel the RB runs a very close second. I was not aware any solos were missed out of Act3. The overrun/finish time was exactly the same time as the over run time in the interval. I agree that the music lacked a joie de vivre but it was not awful. I have to say NYCB's orchestra last week in New York for The Nutcracker was stellar in comparison. Just shows you can't please all the people all the time. Edited December 21, 2014 by Don Q Fan Link to comment Share on other sites More sharing options...
Bruce Wall Posted December 21, 2014 Share Posted December 21, 2014 (edited) Oh, DonQFan, I would dearly love to read a review from your good self of the NYCB Nutcracker (if you had the time, of course). It's my personal tops of the many productions that I've been privileged to see of that perennial favourite. (Of course - as I've stated elsewhere - my current most treasured UK production of that same is certainly the Wright/BRB one. It is a fine exemplar.) Back to the RB DQ last night: There is NO question but that the two solo variations buried within the third act pas de deux for Kitri (the one so often performed outside of Russia with a fan) and Basilio were cut. They went straight from the adagio to the coda with but the small variation for the two girls who were friends of Kitri. (So nice to see Fumi back knowing that she herself had in the past been a victim of this production's stage floor.) Those cuts were entirely understandable given - as you have noted - (i) the time which had already over-run and (ii) in respect of both audience members' transport schedules and (ii) in consideration of the impending musician/production staff overtime. I'm sure no one complained. I simply mentioned it in my initial posting as but a matter of historical record. Edited December 21, 2014 by Bruce Wall Link to comment Share on other sites More sharing options...
Tony Newcombe Posted December 21, 2014 Share Posted December 21, 2014 Fumi a victim of the stage floor? Link to comment Share on other sites More sharing options...
Nina G. Posted December 21, 2014 Share Posted December 21, 2014 Fumi a victim of the stage floor? Yes, she too slipped badly on that floor and she had a serious knee injury I believe. She didn't dance all of last Season. Link to comment Share on other sites More sharing options...
jmhopton Posted December 21, 2014 Share Posted December 21, 2014 I too attended both performances of Don Q yesterday and it was great seeing Janet and Helen at the stage door. Saw Takada after the evening performance and she was very pleasant and friendly though she must have been exhausted after virtually doing 2 Don Qs in a day! Presumably Osipova's injury means the Royal are now short of 3 Kitri's with Roberta and Lauren still injured. My first impression of the ballet in the matinee was how slow the music was. It seemed almost funereal in its pace for Kitri's entrance and first variation and you couldn't help but compare it to her joyous entrance in the Bolshoi's production. In that production there is a real sense of anticipation for Kitri's entrance; a carefully choreographed build up leading to her joyous entrance at the back of the stage immediately followed by her back bending jetes to the front of stage. In this production she enters downstage and gives a little hop; not the same at all. (There is a similar anti-climax in Solor's entry in Bayadere.) I really enjoyed both Takada's and Alexander's performance. I thought they were both excellent in coping with both the technical and acting demands the parts require. However, I do agree with previous comments about some of the costumes. Basil looks as if he's strayed from the first act of Giselle rather than Don Q. the brown costume blends into the background and does nothing for anyone wearing it. Also I hate the 'day glo' costumes of Mercedes and the green outfit of the matador; why green? Whenever I see Kitri's friends I think of the review comment made last year about them wearing 'windowlene' coloured dresses! However, the evening performance started off as if it was going to be really special. I've never seen another dancer attack any role like Osipova attacks the role of Kitri; and 'attack' is the right word. She really goes for it like no other dancer I have ever seen and whether this contributed to her fall or not I don't know. However, she's done the role so many times in so many different theatres (most recently in the USA) you think she could cope with even slow music. I hope it wasn't the flooring again as that may not bode well for other dancers. She did go down with a crash but was up and dancing immediately. If you hadn't heard the crash you would hardly have realised what had happened. However by the time the end of the act came I thought she was in pain when being wheeled off in the cart. She got a tremendous well-deserved ovation at the end of her variation and I hope her injury is not too serious and she is able to dance Onegin. She has had bad luck since joining the Royal with her slight concussion for the modern ballet that lead to the performance being cancelled. then there was the fall she sustained in the rehearsal for Sleeping Beauty and now this. Best wishes for as speedy a recovery as possible, Natalia! 4 Link to comment Share on other sites More sharing options...
Tony Newcombe Posted December 21, 2014 Share Posted December 21, 2014 I was at that performance. Did not see slip. She just stopped and left the stage Link to comment Share on other sites More sharing options...
Amelia Posted December 21, 2014 Share Posted December 21, 2014 (edited) Poor Osipova. She's been unlucky in her short time at the RB. I'm relieved to hear that the flooring doesn't seem to have played a part. I share your sympathy felt towards Natalya Osipova, Aileen. However, can not make the same conclusion about the floor. What seemed to one or two viewers doesn't prove that the floor didn't play part. I heard from several dancers that they dislike (mild word) this floor. Why couldn't Don Q.be performed on the floor, which dancers are used to dance on? If there was some special artistic vision for this particular production that required the change of the floor, I failed to notice it. Just want to add that it was a brilliant, whirlwind performance of the first act by Natasha: the jumps, the pliancy of her body, the speed, her own staccato pas de bourrees, the natural stage manner and the general quality of her dancing. She finished the sequence after the fall without loosing the tempi. When she made the next entry after the fall, those who know how she magnifies all this towards the end of the act could notice that she moved more carefully, i.e carefully for her. But she did everyhting perfectly to the very end. And I liked how she and Golding looked together, very well matched height and bodies. High lifts looked glorious. Just praying for her speedy recovery. Last paragraph added. Edited December 21, 2014 by Amelia 3 Link to comment Share on other sites More sharing options...
Tony Newcombe Posted December 21, 2014 Share Posted December 21, 2014 I have seen four performances in this run and not one slip. I do accept that last year there were real problems and witnessed Akane's problems Link to comment Share on other sites More sharing options...
Angela Posted December 22, 2014 Share Posted December 22, 2014 (Given that the Cranko was built for a (very fine) ballerina at the end of her career I'm very sorry to slip off topic for a minute, but Marcia Haydée was 28 when Onegin was created. How long do ballerina careers last in your opinion, Bruce??? And on a personal note, "very fine" seems a bit underestimated for her dramatic genius. She was one of the great. 6 Link to comment Share on other sites More sharing options...
LinMM Posted December 22, 2014 Share Posted December 22, 2014 I don't understand this "floor" business. I just assumed the stage floor would be more or less the same whatever the show being performed. Is something put down on top of the normal stage floor then? 2 Link to comment Share on other sites More sharing options...
Bruce Wall Posted December 22, 2014 Share Posted December 22, 2014 (edited) I'm very sorry to slip off topic for a minute, but Marcia Haydée was 28 when Onegin was created. How long do ballerina careers last in your opinion, Bruce??? And on a personal note, "very fine" seems a bit underestimated for her dramatic genius. She was one of the great. Dear Angela, Thanks so for your kind correction. It is so very greatly appreciated. Perhaps it was because I only saw Haydee dance Tatiania very late in the day - as I did with Makarova, Seymour, Evdokimova, Kain and Maximova - that I got that impression. Certainly Cranko has graced the world with a work fully enabling such LEGENDARY artists to continue to place their stamp long after that period when they first established their own particular GREATNESS. I have every confidence that Osipova will happily join that legendary number in time. And, YES - Haydee - at least to my mind/memory - is a GREAT artist. She was the very FIRST Juliet I ever saw from a balletic perspective. (Bless my parents.) Although I now - as so many here - have seen an enormous range of fine - indeed "very fine" - artists in that role (and somewhere in my head 'very fine' ranks in its approximation in/around or certainly on the road towards 'greatness') - and in a wide variety of choreographic interpretations - Haydee's assured 'Greatness' in terms of the emotional electricity of her engagement as Juliet has (for me) never - ever - been bettered. It was - and has remained - a 'Platonic' privilege. As to age, I always hope artists can live in the wealth of their established artistry - and its varied variations - as long as possible; or certainly as long as a rightful discretion might allow. I prize my memory of having been able to watch so many of Balanchine's latter day ballerinas still blossom very late in their careers in those roles they originally created. I fondly remember seeing Ashely dance BALLO for the very last time when she was 50 and there was certainly no watering down of the zealous precision I remembered when I first saw her in it. Age without question withers (as it must) but when those decidedly GREAT artists cheat the balance it is oft times made richer. Somehow they seem even GREATER. Their enhanced glory unquestionably lays in our world's credit balance. Again, Angela, my enormous thanks for your generous largess as towards this kind correction. Bless you for this - and for keeping us all abreast on the happenings in Germany. (I so look forward to seeing the Ratmansky Paquita in Germany in a couple of weeks' time when I am there for work. I would not have initially known about it had it not been for your good self. Indeed I specifically arranged my Munich schedule - which I was aware needed to be honoured in early 2015 - immediately after reading your report of that Paquita's happening.) BLESS YOU FOR ALL. [i realise this is 'off topic' but I only wanted to respond to the item quoted above in this chain.] Edited December 22, 2014 by Bruce Wall 2 Link to comment Share on other sites More sharing options...
aileen Posted December 22, 2014 Share Posted December 22, 2014 (edited) Lin, they certainly put down some flooring for some of the ballets at the ROH (I'm thinking of the patterned flooring in Raymonda) but what I don't know is whether flooring is always put down for the ballets. Does anybody know? There was another ballet a year or two ago (it may not have been at the ROH) in which several dancers slipped in roughly the same place. I always worry about dancers dancing in 'snow' or under a shower of glitter/confetti; surely these things must make the floor slippery. Edited December 22, 2014 by aileen Link to comment Share on other sites More sharing options...
Sim Posted December 22, 2014 Share Posted December 22, 2014 I remember a few years ago at the ROH there was a problem in La Sylphide with the dry ice being pumped onto the stage. Something went wrong with the machinery and the ice was leaving an oily residue on the stage. Two or three dancers fell over, and in the bit where the Sylphide comes down the tree on that little platform (Sarah Lamb in this case), the platform lowered but then went straight back up again before she could alight from it. It looked a bit comical at the time, but this was probably done to avoid her slipping. Just after that, the curtain came down and we were told that the stage had to be cleaned and the ballet would resume shortly....to the credit of all concerned, it did and was wonderful. 1 Link to comment Share on other sites More sharing options...
alison Posted December 22, 2014 Share Posted December 22, 2014 And then there was the time in "Giselle", when the RB were "in the wilderness" at the Hammersmith Apollo during the ROH closure, when Nicola Tranah, dancing Myrtha, slipped on a similar oily patch and had a very nasty fall onto her back. Fortunately, I don't think it did any lasting damage. 1 Link to comment Share on other sites More sharing options...
jmhopton Posted December 23, 2014 Share Posted December 23, 2014 Has anyone heard anything definite as to whether or not Osipova will be dancing next Monday? Having been in the theatre when she had her fall I think it would be highly unlikely she will be dancing but if so why has there been no announcement on the ROH site? It is just I am travelling a long way with the usual travel and accommodation expenses specifically to see her and if she is not dancing I may consider making other arrangements. It's frustrating not knowing. I do hope she is making a good recovery and it won't be too long before she is able to dance again. Link to comment Share on other sites More sharing options...
alison Posted December 24, 2014 Share Posted December 24, 2014 My guess is that, with Christmas upon us, they'll leave it as long as possible before any announcement is made. Link to comment Share on other sites More sharing options...
capybara Posted December 24, 2014 Share Posted December 24, 2014 My guess is that, with Christmas upon us, they'll leave it as long as possible before any announcement is made. And probably past the deadline for exchanging tickets : ( But let's be optimistic and hopeful for Osipova's welfare that she is OK and will be dancing. Link to comment Share on other sites More sharing options...
Vanartus Posted December 24, 2014 Share Posted December 24, 2014 BTW rather good article by Luke Jennings in the Guardian re DQ and danger in ballets. Fascinating detail about a slide in Manon which seems to have brought down all of the Greats. 1 Link to comment Share on other sites More sharing options...
Vanartus Posted December 24, 2014 Share Posted December 24, 2014 Here's the link: http://www.theguardian.com/stage/2014/dec/23/don-quixote-review-osipova-fall-takeda-triumph-dangers-of-ballet 1 Link to comment Share on other sites More sharing options...
Don Q Fan Posted December 24, 2014 Share Posted December 24, 2014 I went to the stage door after the performance and a lady there said she could see the wings from her seat high up and she said she could see Osipova who seemed to be moving her foot with pointe shoe on as if the shoe was not quite right, so who knows maybe her pointes weren't sitting right or broken in enough? I did notice that Osipova, for once, was wearing a new pair as she usually wears the most battered brown pointes in the world ever! I suspect ROH have said come on put some new shoes on like everyone else - most principals do appear to have new shoes on however maybe this was literally her downfall? Link to comment Share on other sites More sharing options...
Vanartus Posted December 25, 2014 Share Posted December 25, 2014 Hello Vanartus and welcome to the Forum! I hope you will continue to contribute. Link to comment Share on other sites More sharing options...
LinMM Posted December 25, 2014 Share Posted December 25, 2014 Thanks for the article Vanartus a very interesting read. It must take a great deal of courage to come back after a serious injury easily taken for granted. Link to comment Share on other sites More sharing options...
Vanartus Posted December 27, 2014 Share Posted December 27, 2014 Hello Vanartus and welcome to the Forum! I hope you will continue to contribute. Link to comment Share on other sites More sharing options...
Vanartus Posted December 27, 2014 Share Posted December 27, 2014 Meant to say earlier: thanks for the warm welcome! Link to comment Share on other sites More sharing options...
Vanartus Posted December 28, 2014 Share Posted December 28, 2014 To all of us/you planning to go tomorrow night - is she or isn't she? Osipova is still listed as dancing. So far so good. However - and yes I'm paranoid - when I received the usual ROH reminder to tell me I'm coming (annoying in a way!), I noticed they've actually scheduled an announcement from 7.30-7.31. Is that usual? Link to comment Share on other sites More sharing options...
Vanartus Posted December 28, 2014 Share Posted December 28, 2014 See below re above: Approximate performance timings: Announcement 7.30pm - 7.31pm (1 minutes) Act I 7.31pm - 8.21pm (50 minutes) Interval (30 minutes) Act II 8.51pm - 9.23pm (32 minutes) Interval (30 minutes) Act III 9.53pm - 10.28pm (35 minutes) Curtain Call 10.28pm - 10.33pm (5 minutes) Approximate end time: 10.33pm Link to comment Share on other sites More sharing options...
bangorballetboy Posted December 28, 2014 Share Posted December 28, 2014 To all of us/you planning to go tomorrow night - is she or isn't she? Osipova is still listed as dancing. So far so good. However - and yes I'm paranoid - when I received the usual ROH reminder to tell me I'm coming (annoying in a way!), I noticed they've actually scheduled an announcement from 7.30-7.31. Is that usual? They've done this before. It's nothing unusual, just the standard pre-performance announcement. Link to comment Share on other sites More sharing options...
Vanartus Posted December 28, 2014 Share Posted December 28, 2014 Thanks Link to comment Share on other sites More sharing options...
Recommended Posts
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 accountSign in
Already have an account? Sign in here.
Sign In Now