The Royal Ballet, Onegin, January 2015

[bangorballetboy]

Saw this evening's performance which was sabotaged by the worst conducting since the days of Emmanuel Young.  Heard someone boo the conductor - richly deserved.

 

I thought last night's conducting was slightly better than on Tuesday, but still dreadful.  I have stopped applauding Dominic Grier, but not the orchestra.  It has taken a lot of willpower to resist booing him, but that might yet happen.  A drastic improvement is needed, and quickly.

[aileen]

Gerald Dowler in Classical Source praises Grier's conducting (see Today's Links).

[Nina G.]

Yes, Yasmine is getting very popular, and quite right too!!

I am really looking forward to seeing this cast tomorrow! 

[MAB]

I thought last night's conducting was slightly better than on Tuesday, but still dreadful.  I have stopped applauding Dominic Grier, but not the orchestra.  It has taken a lot of willpower to resist booing him, but that might yet happen.  A drastic improvement is needed, and quickly.

Last night a friend of mine was sitting in A row in the stalls and glanced towards Grier at those critical moments in the action where he should have looked at the dancers for his cue and he says Grier never looked up once.  Poor show.

 

As for Gerald Dowler, if I said what I think of his critical capabilities, the moderators would remove my post.

[capybara]

Last night for me Nunez and Soares did not offer anywhere near the dramatic impact of their performance last Saturday but I cannot fathom why.

 

Muntagirov's characterisation and beautiful dancing as Lensky drew much of the focus (as it had earlier for many Critics) - so much so that, after his searing pre-duel solo and impatient inter-play with Tatiana and Olga, things felt a bit flat.

Edited January 29, 2015 by capybara

[alison]

I don't know much about music, but even I could tell that this was way off kilter. This was especially apparent in the mirror pdd: where was the climactic build up? Where was the excitement as Tatiana's dream leaves her spent on the floor at the end of it? That whole scene was way too slow and monotonous....and one should never be able to say that about the mirror pdd.

 

I was bemused, I must admit: it had certainly sounded rather more fevered at the Saturday matinee.  I felt the mirror pdd felt very flat, and I don't think it was the fault of the dancers.  The final act was another matter entirely.

 

And can I say, what gorgeous dancing from Muntagirov (now, there's a surprise! )  My only problem was that I found him too "princely" when he was merely walking around the stage during Act I: Lensky isn't an aristocrat, let alone a prince, is he? 

[MAB]

Well, the Larin's are landowners, albeit provincial ones.  If one daughter gets to marry a prince I suppose the acknowledged beau of the other daughter must at least be of comparable social standing, and elaborate manners were the order of the day back then.  I mean we don't bow or curtsy to our peers at social gatherings today.

[ToThePointe]

I really hope something changes with the way the Orchestra is being conducted. Last night the timings seemed a bit odd and that mirror pdd needs to build up and for me, it didn't. This was no fault of the dancers and I blame the tempo of the music. It's one of my favourite pieces of music because it reflects that innocent idealism and what it feels like to fall in love. Everything should be reaching an exciting climatic ending but last night this didn't happen. Such a shame because, contrary to what many are saying, I actually love the score for this ballet! Just a pity it wasn't on point (pointe ha!) last night! 

[aileen]

I don't know whether it was the music or the choreography or the cast or a combination of two or all of these things, but the performance didn't really 'gel' for me. I didn't feel that the quartet worked as an ensemble, despite some very good dancing. Perhaps there were too many stylistic mismatches, and there was a slight feeling that the four leads were all dancing in their own little orbits. I didn't find the characters very believable. Nunez looked too mature for the first two acts and far older than Takada whose attraction to Onegin seemed to come out of the blue. I felt that she was rather miscast in the role. I would have liked to have seen Muntagirov paired with Stix-Brunel instead as I think that they would have had a better connection and that her softer, lyrical style of dancing would have matched Muntagirov's more. I certainly felt that something was not quite right from the very start. There wasn't a good vibe, almost as if there had been a row or someone had had some bad news (I hope not). But perhaps I'm just imagining things. Some performances just seem to go with a swing or catch fire and others feel flat. I do wonder whether you feel too remote from the action if you sit in the amphitheatre. Despite the corps it feels like a chamber piece. The lighting is too dark in places, which doesn't help.

[LinMM]

Well not the Amphi 's fault I think!

 

I was in the Amphi on Saturday admittedly in row C fairly central .....not right at the back etc but I think with these things it is down to a number of things including ones own frame of mind at the time as well as the dancers and orchestra and so on.

 

I must admit I do like Beatriz Stix Brunell very much so might have been interesting to see her pairing with Muntagirov.

 

I saw it on Saturday as Onegin really enticing and flattering Olga away on his own whim rather than she was really taking the initiative with him as such.

She suddenly felt flattered at the slightly older mans attention so to speak!

 

It's a pity that the Wednesday performance doesn't seem to have fired off quite so well ......as others seem to be saying this too.

It really was good on Saturday. I only tend to write reviews if I really enjoy a performance though.

[Dance*is*life]

Hmm - yes live music does have its disadvantages alongside its advantages.  It never helps if a conductor insists on keeping to the tempi music score wise rather than choreography wise, if you get what I mean. Of course I expect dancers to listen to the music and keep in time with it, but if a conductor does not relate to what's happening on stage that can be disastrous. Similarly, a dispassionate rendering of the music must make for a less inspired and meaningful performance by the dancers.  You would expect someone who conducts for the Royal Ballet to understand that the music should enhance the performance, rather than detract from it.  How frustrating for you all to see that happen. 

[Amelia]

And can I say, what gorgeous dancing from Muntagirov (now, there's a surprise! )  My only problem was that I found him too "princely" when he was merely walking around the stage during Act I: Lensky isn't an aristocrat, let alone a prince, is he? 

 

There shouldn’t be any problem, Alison, with Lensky’s aristocratic manners. He is a nobleman, a wealthy landowner. Wherever he appears, every mother dreams of netting him as a potential husband for her daughter. He is a highly educated young man, just recently came back to his estate from Germany where he studied at the University of Göttingen. Pushkin described him as a very romantic hero:

 

Vladimir Lensky, whose creator

     was Göttingen, his alma mater,

     good-looking, in the flower of age,

     a poet, and a Kantian sage.

     He'd brought back all the fruits of learning

     from German realms of mist and steam,

     freedom's enthusiastic dream,

     a spirit strange, a spirit burning,

     an eloquence of fevered strength,

     and raven curls of shoulder-length.

[alison]

Yes, but he's not a ballet prince.

[AnneMarriott]

I don't know whether it was the music or the choreography or the cast or a combination of two or all of these things, but the performance didn't really 'gel' for me. (snip). Some performances just seem to go with a swing or catch fire and others feel flat. I do wonder whether you feel too remote from the action if you sit in the amphitheatre. Despite the corps it feels like a chamber piece. The lighting is too dark in places, which doesn't help.

 

We were in the Stalls Circle (posh seats by our standards) on Wednesday evening so we were close to the action and it didn't gel for us either.  Some parts were excellent, like the curate's egg, but the overall impression was that it lacked lustre.  A bit disappointing as it will be our only Onegin this run and we had high expectations after the rave reviews for this cast.

[aileen]

It's so odd, isn't it, after the very enthusiastic reports of the Saturday night performance. What can have made the difference? It was exactly the same cast, the same orchestra and the same conductor. Unfortunately, two mobile phones went off during the performance, one when Tatiana was sitting at her writing desk, which was quite comical because of the timing. I did wonder whether my mood (I was slightly uncomfortably wedged between two other audience members, and the two men to one side of me were resolute non-clappers) had affected my enjoyment of the performance but it appears not as others have reported the same feeling about it.

[John Mallinson]

Natalia Osipova talks about dancing Tatiana via ROH YouTube (Russian with subtitles).

 

[Coated]

I liked the Wed Nunez/Soares well enough, but was not enraptured either. I assumed the performance wasn't registering with me because I was on a bit of a high that day after having attended a Sitzprobe for The Dutchman ( still no idea how I ended up with the invite, but did I love listening to the main cast whilst comfortably slouching across 3 seats in the practically empty stalls with no heads in front blocking my view. You could hear some going-ons behind the curtain towards the end of the rehearsal, and just when it finished the curtain went up to reveal the Onegin set being set up for the evening)

 

Muntagirov's aristocratic Lensky worked for me, at the same time I can see what Alison means with 'not a ballet prince'. I'm in 2 minds about him and Takada being paired this often. I think they look good together, but I would like to see both with partners that bring out their emotional involment more strongly

[aileen]

I suppose that many of us remember Vadim's partnership with Daria which was exceptional and his regular partnership (thus far) with Akane just can't match it and so we feel disappointed. Of course, the partnership may develop but my gut feeling is that it will never bring out the best in them artistically which is what great partnerships do. I hope that Kevin O'H will try out a few more partnerships with other people. Vadim is down to dance with Lauren in Swan Lake, assuming that she is fit.

[capybara]

.Vadim is down to dance with Lauren in Swan Lake, assuming that she is fit.

 

In the latest ROH Magazine the casting for these Swan Lakes is shown as tbc/Muntagirov so it seems highly likely that Cuthbertson will not be fit by then. If so, this will be such a pity for her and for all of us who were hoping to see Lauren and Vadim dance together.

 

The Takada/Muntagirov partnership doesn't do it for me either. However, as I said elsewhere, I liked the Hayward/Muntagoriv one in Alice and also, to my surprise, the Lamb/Muntagirov pairing in Manon. Of course, we have to accept that the kind of chemistry shown on stage by Daria Klimentova and Vadim is very rare  and very wonderful.

[jm365]

Well, I'm sorry to say that Golding's performance tonight was as bad as I had feared.  I have never been at a performance of Onegin that left me so unmoved at the end.  I could hardly bear to watch the pas de deux.  I would love to see Osipova with virtually anyone else.  I don't know whether it was because I found the main characters so uninvolving that I also found there was no passion in the music either.  Thank God for Bennet Gartside - the one bright light of the evening.

[Bruce Wall]

Well, I had a very different response from jm365.  I thought that Golding (now appearing - mit mustache - at times most dashing a la a young Dom Ameche) made a fine stab in his first outing as Cranko's Oneign,  From where I was standing at the back of the Amphi he appeared to carefully build his performance over all three acts and gave a knowing variety to his catalytic characteristics.  Certainly he proved an able partner. 

 

Oneign (the ballet) has always been a jalopy of a work; one where the choreographer gave bones upon which the four fascinating artists in the key principal roles could add their own very special brand of flesh.  Each must be filled out lest they be seen to rattle or the work itself be seen as simply sturdy - not that the latter is in any way a bad thing in and of itself.  Not at all.  So many works we see sink in their own trace.  (Still you can see why Balanchine had the reaction he did to this interpretation when you consider the rich detail embedded in the Pushkin masterwork's canvas.) 

 

We have been so lucky in London to have seen such fine balletic exemplars who have added such thrilling embellishments; such unique perfumes to their Oneign outings first with LFB/ENB - our cherished national company who brought so many of the 20th Century's most famous dancers to shine in front of us - including the ever glorious original Tatiana - and then the RB who latterly chose to root it in their own particular repertory.  There can I think be no question but that Natalia Osipova will be amongst the leading balletic stars of the early 21st Century and I look forward to watching her develop in this role.  Her responses in the opening scene - so clearly etched in the romantic novel's moment - indicated that all will be rich in time.  Her second act variation was spectacular being vividly trapped in its own distressed zeal.  The outline of future greatness in the defining pas de deuxs was, I thought, there but as yet mixed with a little caution.  Perhaps this may have been nerves or even a certain understandable care having been recently injured in Acosta's DQ.  Osipova's performance in Ashton's Month in the Country (a far more detailed and cunning narrative depiction) so enriched over her three performances.  I feel instinctively her cherished Tatiana will do so as well.  I so look forward to following the potential path of that achievement. 

 

Yasmine Naghdi was a delight in her entirely sun kissed performance as Olga; one gloriously musical throughout.  Matthew Ball was her fetching consort as Lensky.  His dancing in the first act showed a distinct placement that glowed as stealthily as his masculine smile and his dramatic insult in the second act was as carefully calculated in terms of his own theatrical fullness.  For these reasons I'm certain that the consistency of his legato line during his third act dramatic monologue will only grow in his own next two outings.  (Oh for a Patrick Armand to pass on tips in that regard.)  Also a special note of thanks to Mr. Marcelino Sambe for his wonderfully animated field worker in the opening act.  This fine First Artist always brings every theatrical communication he makes into clear personal focus; one that enriches.  K. O'Hare's philosophy of building the RB ranks from the bottom up continues to pay dividends.  That said I thought the corps looked a tad rocky during the pavane that opens Oneign's third act; most specifically in the case of another RB First Artist, Kevin Emerton, who seems (at least in my experience) to be consistently out of sync with the music and therefore (more often than not) not surprisingly finds himself out of alignment.

 

While thinking of the score:  Musically this performance did nothing but inflate the reputation of the ENB Philharmonic and its glorious leader, Gavin Sutherland, as the leading UK ballet ensemble/leader.  Dominic Grier - unquestionably handsome in his own person - conducted this performance (well intentioned I'm sure) as if it best hailed from the waterlogged - well, politely restrained shall we say - Martin Yates School of Music.  Whenever in doubt (and there was much uncertainty that sounded) it veered towards the pastoral.  One wonders if this is now intended as the Royal Ballet's house style.  I, for one, very much hope not.  The somewhat choppy orchestration that is this particular patchwork score is not always strong in terms of the diversity of its own character (as opposed, say, to Tchaikovsky's own operatic largess) and therefore proffers even less reason to bludgeon any (let alone the majority of) highlights into polite submission - especially in the the depiction of the final pas de deux.  Surely it needs - indeed deserves - to spike.

Edited January 31, 2015 by Bruce Wall

[aileen]

Lin made an interesting point a few posts ago. Is Olga supposed to be flirtatious and her love for Lensky shallow from the beginning or is she truly in love with Lensky but gets led astray by the attentions of an older (I assume that Onegin is supposed to be older - and wealthier?), more worldly and intriguing stranger? Alternatively, is her dalliance with Onegin a bit of fun in her eyes, which doesn't signify anything, but Lensky overacts because he is possessive/jealous/hot-headed/immature/easily offended etc? Or, is Lensky a man of honour who has no choice but to challenge Onegin to a duel because Onegin's behaviour is a grave insult according to the mores of the time? I'd be interested in people's views.

[Nina G.]

I was at last night's performance and the clapping, cheering and foot stomping of the audience (as if clapping simply wasn't enough) said it all. A truly memorable night. 

 

I loved Marianella Nunez's "Tatiana" (seen earlier on in the week) but Natalia Osipova was also a marvellous "Tatiana",  she really came into her own in Act3. I am no fan of Matthew Golding, I did not take to his shallow, boring "Onegin" and Osipova deserves a better partner, he was the weakest link.

 

The true stars of the evening for me were Olga (Yasmine Naghdi) and Lensky ( Matthew Ball). Their partnership was simply divine and I do hope to see them dance together more often in the future! Their Act 1 pas-de-deux is the best I have ever seen in all of the RB Onegin runs over the past years.  Miss Naghdi really nailed Olga's character and her transition of a vain, coquettish, carefree girl to a wretched one was deeply moving (I was in tears by the end of Act 2). Naghdi's musicality combined with her lyrical qualities make her the perfect Olga. Matthew Ball was another stunner. This very young dancer (only two years in the Company?)impressed with his solid partnering skills and his solo in Act 2 was beautifully danced. They were a lovely couple (how could Olga turn her attention to Onegin . Naghdi's sizeable haul of bouquets at curtain call seemed to have caused momentarily confusion by the flower boy... but her success was gracefully acknowledged by Natalia Osipova (hand clapping).

[Coated]

Sitting very close to the stage I was pulled into the characters and emotions of the performance from the first act onwards, culminating in a huge crescendo at the end (even the orchestra seemed to soar for at least 50 seconds) For the first couple of curtain calls, Osipova still seemed to be in character, to me it looked like she felt Tatiana so deeply, she couldn't let go just yet.

 

By the time the audience was stamping their feet to assist the clapping, she'd found her smile back. It was also delightful sitting amongst a noisy bunch of clappers and vocalisers instead of being surrounded by people who move their hands politely for a second before starting to check their phones or grabbing their coat.

 

Golding is growing on me. His Onegin had the cool detachment of someone afflicted by idle ennui, jolting into shocked awareness of what he had done when Lensky challenged him. I thought his dancing was beautiful, the characterisation worked well for me and best of all, he seemed to be in full control of his chin throughout.

 

ETA: agree very much on comments about the wonderful performance of Naghdi and Ball - it was great to see Naghdi getting public acknowledgement as a jewel in the RB crown by bunches and bunches of flowers, and I think I've already raved about Ball after watching the rehearsal.

Edited January 31, 2015 by Coated

[annamk]

I also enjoyed last night as much for the display of promising talent of the future as for the present.

I wouldn't count myself among Matthew Golding's fans but I thought his Onegin the best thing I've see him do at the RB. He dances beautifully, partners securely and has enough in the acting department to pass muster. But the honours of the evening go to the Natalia Osipova who showed us yet again what an extraordinarily talented dance actress she is. Her debut is full of little details unique to her that make her characterisation utterly convincing. She's the ballerina of her generation - it's easy to forget that she's still only 28. Unlike Bruce above, I thought the last pdd was reckless and incredibly emotional - they threw caution to the wind which is just how it should be.

Yasmine Naghdi has clearly been one to watch for some time : a beautifully musical dancer who is more than ready to step into soloist and above roles. One of the most exciting aspects of this run of Onegin are the Lensky debuts for the company's younger dancers. Matthew Ball's debut was most impressive. It seems to me that young dancers who show promise in small roles often then freeze on stage when they make principal role debuts but not so with Matthew Ball last night. He had the courage to act and dance Lensky with the passion the role needs, and to develop the emotional intensity to the crescendo of the duel. He partnered Yasmine beautifully throughout notably in the stamina sapping Act 1 pdd. He has a lovely jump, beautiful line and he looks very princely ! Oh and he's tall !  Bravo ! 

[zxDaveM]

Well, I'm sorry to say that Golding's performance tonight was as bad as I had feared.  I have never been at a performance of Onegin that left me so unmoved at the end.  I could hardly bear to watch the pas de deux.  I would love to see Osipova with virtually anyone else.  I don't know whether it was because I found the main characters so uninvolving that I also found there was no passion in the music either.  Thank God for Bennet Gartside - the one bright light of the evening.

 

I couldn't disagree with this more - except maybe about Bennet, who was masterly and perfectly understated as Gremin.

[Amelia]

I think it was overall good performance by everyone last night.

Osipova was tremendows as Tatiana. And she will be even better next time and the time after because, as Bruce Wall remarked, she always continues getting deeper and deeper into the role with every performance.

Edited January 31, 2015 by Amelia

[Nina G.]

I couldn't disagree with this more - except maybe about Bennet, who was masterly and perfectly understated as Gremin.

I am puzzled by jm365's comment ("main characters so uninvolving"? did we watch the same performance?? ). Golding's dancing was not bad (Golding is Golding and some take to him, other's don't ). I do like Bennet Gartside a lot but to say (jm365) he was "the one bright light of the evening"?...there were others  

[Mummykool]

Thank you annamk for putting into words all I wanted to say.

 

With the exception of Muntagirov's Lensky, last night surpassed the performance I saw on Saturday night in every way possible.  Having said that, I was very impressed by Matthew Ball and thought Yasmine Naghdi was absolutely wonderful. What surprised me was Matthew Golding's performance. I didn't think he had it in him and was truly impressed by his characterisation. Of course the expectation is that Osipova will be truly amazing and she never disappoints. Nobody would have known this was a debut performance and one can only look forward to how she will build on this. Her artistry is something to be treasured. The roars and stamps of approval at the end showed how good it was but it worries me somewhat that this is all taken a bit for granted when she should be showered with flowers....... 

[Beryl H]

An exceptional night, at long last the chance to see Natalia Osipova and Matthew Golding in a full-length ballet, thought they were thrilling in the mirror pdd, don't know how Matthew Golding managed to dance so well himself and still be able to catch Natalia Osipova flying through the air, I've never seen it danced with such abandon and at a debut too!  And they can only get better!

 

Yasmine Naghdi and Matthew Ball were utterly beautiful too, what sensitive acting from Matthew Ball in particular, again amazing at a debut!

 

I couldn't really find any fault with the music either, I was trying to listen more, perhaps more Russian in that tempi varied from very fast (the runs of split jetes) to very slow and sparser in the duel scene, there were no boo's for the conductor last night. I'm surprised that there are never any flower throws for Natalia Osipova too, although both girls had lots of bocquets. I was inspired to stay until the very end which nowadays I only do for very special performances.

[capybara]

I also enjoyed last night as much for the display of promising talent of the future as for the present.

 

 

I do so agree. Given that Matthew Ball has been in the Company barely a year and has had only a couple of small 'featured' roles, his portrayal of Lensky was amazing. And Yasmine Nagdhi is my favourite Olga to date in this run.

 

Did anyone else sense that these two won on the 'clappometer' when they first came in front of the curtain?

 

I liked that fact that the main characters came out together for a final curtain call once the lights had gone up.

[Sim]

I was going to write a long review of last night, but Anna and most others above have already expressed my own feelings about the performance.  I thought it was an amazing night of debuts.  Natalia Osipova is a true artist in all respects:  her reading of every role she dances conveys an intelligence and thought process that are rare.  Her mind so intellectual and disciplined, her body so wild with abandon in her dancing....I just love that contrast. Her Tatiana is a goofy girl, much more interested in books than in the silly goings-on around her.  Then, as if out of the pages of her novel, steps the dark, mysterious Onegin, who awakens in her feelings and fantasies she never thought possible.  When these fantasies are crushed by Onegin, her pain and humiliation are palpable....and I was in the amphitheatre (with strong binoculars, but even when watching without them I didn't feel I missed anything).  I love the way, when she is sitting at her desk in Act 3, wracked with agitation after receiving Onegin's letter, she pushes her mirror to the side so that she doesn't have to look at herself.  Is this because of the guilt she's already feeling in case she can't resist him?  Is it because she doesn't want to be reminded that she is no longer an innocent, naive young girl?  Is it because she is remembering how she first saw him as a reflection in the mirror?  Is it all three?  We don't know, and I love how that one small gesture made me think.   

 

Matthew Golding's Onegin was quite understated in the first two acts.  More of a broody Mr Darcy type; obviously bored being in the company of the shallow country folk, trying without much success  to hide his disdain, but amusing himself by chatting up the shy Tatiana.  For him, a mere bagatelle, for her, a depth of emotion that shakes her to her core.  By Act 3, when he realises years later the senseless life he has led, and what could have been, all the pent-up emotion is released in that final pdd.  There are a couple of places in that pdd where he smiles broadly because she is so close to succumbing to him;  he gestures towards the wings with his arm to say "let's go, now,while we can", but she suddenly freezes, realising how close she came to following him, and knowing that she has to put a wall between them in order to prevent her doing the wrong thing.  The smile disappears from his face and he is then overwrought because deep down he knows he has lost her.  The despair on his face when she sends him away is quite heartbreaking.

 

Yasmine Naghdi and Matthew Ball were both utterly convincing as the young lovers;  she a piece of fluff to begin with, he a young, romantic idealist.  Both dance with beautiful line and lovely musicality, but they also convince us of the arc their lives take as the plot moves forward...both in a slide towards tragedy that they are totally ill-equipped to handle because of their youthful naivete.  Ball's approach to Lensky is, again, understated but very effective. In Act 2 I got the feeling that it was his heart that was hurt, not his pride, and this meant an almost weepy scene. He didn't show the same fury as Muntagirov did;  it seemed as if he challenged Onegin to the duel because he thought that's what was expected of him as a young man who has been hurt, not because he really wanted to.  With Muntagirov, he really wanted to!  Ball's solo before the duel was danced with feeling and without wobbles.  He knows he is going to die, he knows it is such a waste, and he knows he can't renege on his challenge without being looked upon as a coward and a fool so he must go through with it.  Onegin tries to give him a lifeline, but he slaps him in the face with it, literally and metaphorically.  A couple of people have mentioned on this thread how they don't like the girls arriving on the scene, but to me it makes total sense;  if someone I loved and adored was about to participate in a duel that he was bound to lose, I would be doing all I could to convince him and his opponent to desist.  I think it is a realistic scenario.  It also gives us a chance to see that Olga isn't entirely shallow.  In this scene she grows up, fast.  Naghdi enters the stage as a young girl, but is left a destroyed woman when Lensky is killed.  She was devastatingly real here.  As Anna said, these two, and many of the other young dancers in the company, give us much to look forward to, and I wish them all success in their careers.

 

Big kudos too to the thoughtful, sensitive portrayal of Gremin by Bennet Gartside.  The audience needs to understand why Tatiana does not succumb to Onegin, and in order for that to happen we have to know that she is married to an all-around nice guy, who is loving and secure if not the most exciting of men.  Gartside conveys this very convincingly, especially in their Act 3 pdd.  That was so clever by Cranko;  one pdd tells us everything we need to know about the marriage of Gremin and Tatiana.

 

The superlative Osipova said in her interview in the clip above that she reads the Pushkin over and over again, and each time she does, she changes something about her approach to the character.  This is one of the things I so admire about this artist;  she is incapable of giving the same performance twice, and that is one of the many things that makes her so exciting to watch.  I am very much looking forward to her next performance. 

 

She finished by saying that she wants to portray Tatiana like Pushkin wrote her.  I can only imagine that had he been in the audience last night, he would have been applauding, cheering and stomping with the rest of us. 

[billboyd]

Sim - A super review of a super performance.