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Royal Ballet: La Fille mal gardée, Spring 2015


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I'm sure Janet will tell us, but I'd be surprised if it *was* Campbell's debut.  Won't he have danced it with BRB?

 

And I do wish they hadn't scheduled 4 performances in 4 days.  Much as I love Fille, I can't manage that many with my work schedule, and I now realise I hadn't actually booked a ticket for Marquez: I think there weren't any cheap ones going, so I thought I'd wait and see what turned up, and then forgot about it - again :(

 

MAB, thanks for the warning re the pigeons.  I wonder how long it will take them to settle down in a new environment?

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It was Alex Campbell's debut as Colas last night; he never had the opportunity at BRB (but I am sure he would have done it by now if he had stayed).  I believe it is a role he has coveted so I, for one, am thrilled he has this opportunity!

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I suspect the first night cast is THE cast for outstanding performances in all the leads, last night my favourite dancer was Alexander Campbell, who did some marvellous controlled turns during the ballet, there are quite a lot, not many (if any) double tours. Roberta Marquez was more feisty as Lise (although I preferred Morera's softer approach) didn't think Thomas Whitehead and Luca Acri were really settled in their roles yet, troubles with the umbrella but not with the ribbons or partnering, great to see Roberta Marquez dance again!

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A perfect ballet for a sunny spring evening. Last night a most appreciative audience including my husband who is not a dedicated ballet goer. It was so good to see Marquez and I loved the clarity of her dancing. I used to enjoy Jennifer Penney with Stephen Jeffries as Colas and Lise but Marquez and Campbell gave us a really enjoyable evening. The whole company seemed to be enjoying themselves and this infected the audience. I always miss Alexander Grant when Alain appears. However I think young Luca made a very good attempt at Alain. It is a challenging role especially handling the beloved umbrella. I look forward to watching his development after seeing his Alain and his work in the Shecter. I don't feel like spoiling a memory of a delightful evening by being critical. I was still disappointed not to see Zuchetti as I had booked this performance specially to see him. However thank you Alex for your Colas it contributed much to the whole evening.

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Did Penney ever dance Lise? Glad you liked Campbell Jillykins? Sally and I thought he was truly delightful :-) The umbrella was a problem (Sally, who starred as Carlotta in Phantom was muttering "I hate props") but the whole evening and such joy that criticism seemed obsolete.

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I saw La Fille some time ago with Kobborg/Cojocaru. I remember it being full of charm. There is a scene where Colas is greeting various ladies. Unfortunately on this occasion, one of them had a slip and fell absolutely flat on her face. She hit the deck with such a smack, I was amazed that she was able to get up and carry on, the action barely missing a beat. Colas didn't seem to blink an eye. 

I had to admire the astonishing discipline it must take to have a fall like that and just get over and on with it. 

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Jabasemesrhblack you could check the ROH's  performance database but I do not believe that it is a complete account of all the performances at Covent Garden from the postwar reopening of the House to date.

 

I do not recall Penney ever being cast as Lise. I think it unlikely that she ever danced it. Sibley did, but Ashton told her that she was unsuited for the role because she was too sophisticated.I expect that he would have felt the same about Penney.During the directorships of de Valois, Ashton and MacMillan all the dancers, including Principals, were cast according to  their suitability for roles rather than seniority.Suitability was based on type,  but the number of types was not as great as the categories used by the Russians in their system of emploi, nor as rigorously applied.The main categorization of female dancer in the Royal Ballet companies was between those who were classical ballerina types such as Fonteyn, Beriosova, Sibley and Penney and those who were demi character soubrettes who tended to be shorter and more compact with brilliant fast footwork and often with good jumps.These categories were more a rule of thumb than a rigorously applied system of typecasting.The decision to cast Sibley as Lise seems more than a little bizarre unless you know that Sibley and Graham Usher danced the leads in Coppelia at the Royal Ballet School's first Covent Garden matinee in I think 1958.

 

Today the only area of the repertory in which suitability seems to continue to weigh more heavily than seniority in casting is the Ashton repertory. I think that this may have been,in part, the result of a lack of interest from some senior dancers.But the strongest factor has almost certainly been that both the rights holders who stage the Ashton ballets they own and the director seem to have had similar ideas about casting these works. If some recent casting decisions are anything to go by.that casting consensus may be in process of breaking down.

 

The role of Lise was created for Nerina who  was a soubrette as were Park, Collier and Jenner all of whom danced the role to considerable acclaim. The list is not exclusive but the four dancers that I have named were among the best  exponents of the role that the Covent Garden company was able to muster in the first twenty years of the ballet's history. The Touring Company and its later incarnations have also had a rosta of great exponents starting with Brenda Last who danced the role over a hundred times and probably knows more about the it than anyone living or dead.

 

As for the ballet itself.It is a shame that the Covent Garden company dances it so infrequently that the audience has to be told at every revival what a great work it is. Other companies express concern about the lack of child friendly starter ballets and yet both Royal Ballet companies have it in their repertory but do perform it as frequently as they should. I find it hard to believe that anyone would complain if it became a regular Easter holiday feature  at Covent Garden except those who believe that in order to be taken seriously ballet must always be ill lit and earnest.

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The use of the term soubrette is interesting.  To me, it always conjures up dancers who can handle roles which require them to display their dazzling technique with a radiant smile on their faces, but suggests that they are unable to handle anything more serious.

 

Quite wrong, of course, I don't know why I always think that!

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A late friend of mine used to describe so and so or such and such as a soubrette.  Of those dancers that I knew I found they tended to make the best of Giselles too.

 

I, probably erroneously, always thought of Agnes Oakes as a soubrette and because I of some of her performances I enjoyed I always link Swanilda and Giselle in my mind so if a dancer is good in one role I expect her to be as good in the other.  Mind you she was also the most sublime of Auroras.

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I've always regarded Giselle as a romantic ballet with the title role calling for a romantic ballerina or a classical ballerina who can adjust her playing rather than a soubrette per se. Fille needs an approach more purely soubrette rather than classical or romantic. As such, Fonteyn, Beriosova and Sibley were remarkable exponents of Giselle but (even though Sibley did attempt it) all were not really ideal for Fille. In the same way, Albrecht is demi-caractere rather than classical.

 

Can I add how much I agree with the comments Floss made in post #75?

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Watching Fille yesterday evening, I was reminded of an open rehearsal I saw a couple of years ago, when Christopher Carr was teaching Tom Whitehead the role of Simone and stressed to him that he should think of her as a mother, not a music hall drag act. It would be good if Alastair Marriott could take that to heart. 

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Seeing Ospiova in her London Lise debut last night I thought what a huge challenge for her to assimilate quickly such a different style while dealing with all those fiddly ribbons with the added pressure of a live relay to come. Of course, being Osipova, the technical challenges of the dancing presented no difficulty although I feel that she has yet to master the Ashton gentleness. Her Lise was entirely believable if slightly too showy, (although this might just be a question personal preference), and in this respect I'm not sure McRae is the ideal partner for her. He danced and partnered well but he overplays it and the balance tends towards the flashy. Some of the comic timing was not quite right but I'm sure all this will be ironed out for the next performance and the live relay. 

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I agree with Anna.  Whilst I thought Osipova was having a lovely time and really enjoying herself, I could also detect some first night nerves on her part and Steven McRae's.  My impression is one of a Bolshoi-trained dancer trying to achieve the subtle nuances of the Ashton style and not quite making it yet.  It was all too big, and the fleet footwork missing.  I was watching Giselle trying to be Lise.  There wasn't enough characterisation, either...the different aspects of Lise's character weren't delineated enough for me. However, as Anna says, this is someone who isn't trained at all in this very different style of dancing, and it was a laudable attempt.  I think it will get there with time;  a few more performances and I am sure that she will settle into the role and the steps as she becomes more comfortable with them.  Someone I was talking to afterwards said that she doesn't much like Ashton or Fille so she was glad Osipova was 'bigging it up' so it made it more exciting for her.  To each their own, I guess....

 

McRae is a marvellous dancer, but I'm afraid that he just doesn't float my boat when it comes to the acting side of things.  Comparing his interpretation of Colas to that of Acosta, Muntagirov and Campbell, there just wasn't much there;  the only smile he elicited from me was for appreciation of his dancing, not his comic timing or bravado.

 

It was a real treat to see Paul Kay as Alain again.  Whilst we are on the subject of Alain, may I also say here what a joy it was to see James Hay's debut in the role on Wednesday night.  

 

I'm afraid I find Philip Moseley's Widow Simone insipid and dull. 

 

Once again Barry Wordsworth was conducting and each time I've seen the ballet this run (four times thus far) the orchestra sounds wonderful, lush and like they too are having a great time. 

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Definitely enjoyed my first La Fille Mal Gardee last night. Not being an expert watcher it’s difficult for me to assess the Ashton-ness of it all but Osipova and McRae were totally enjoyable to watch. The bit in the middle of Act 1 Scene 2 where Lise is en-pointe and is slowly rotated by the girls with the ribbons was unbelievable perfection.

 

Paul Kay’s performance of Alain was the outstanding performance of the night. Umbrella control was good and the audience were sympathetic to his plight all the way through.

 

Fille really is one of the perfect ballets.

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What are the others? :)

 

Serious question. I'm off to start a new thread ...

 

I'm glad I'm not the only one to find last night's performance less than ideal. I've only got the first night to compare it with so far, but this was definitely not at that level. I was musing during the second act that, on this basis, I was liable to be preferring the previous cast's (Marquez/McRae) cinema broadcast to this one, but Osipova is Osipova, and is quite likely to change her rendition entirely by the next performance. I agree entirely with annamk's comments, particularly with regard to the lack of gentleness, and with Sim's "too big" remark. I felt that at times her arms were all over the place, although that may just be because I was watching from an unaccustomed angle. McRae's dancing was of its usual high standard, but I didn't feel any genuine warmth between the two characters, unlike on the first night. Paul Kay's Alain was again, however, excellent.

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My impression is one of a Bolshoi-trained dancer trying to achieve the subtle nuances of the Ashton style and not quite making it yet.  It was all too big, and the fleet footwork missing. ......There wasn't enough characterisation, either...the different aspects of Lise's character weren't delineated enough for me. 

 

McRae is a marvellous dancer, but I'm afraid that he just doesn't float my boat when it comes to the acting side of things.  Comparing his interpretation of Colas to that of Acosta, Muntagirov and Campbell, there just wasn't much there;  the only smile he elicited from me was for appreciation of his dancing, not his comic timing or bravado.

 

I'm afraid I find Philip Moseley's Widow Simone insipid and dull. 

 

 

I tend to agree!

 

Yet these three have been given three shows and the cinema relay - McRae and Mosley for the third time, I believe!

 

Plaudits to Paul Kay, of course.

 

It's interesting that (apart from an adverse reference to Marriott) noone on here has commented on the Nunez/Acosta cast. Are we in danger of taking her, in particular, for granted, I wonder?

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I agree with Anna.  Whilst I thought Osipova was having a lovely time and really enjoying herself, I could also detect some first night nerves on her part and Steven McRae's.  My impression is one of a Bolshoi-trained dancer trying to achieve the subtle nuances of the Ashton style and not quite making it yet.  It was all too big, and the fleet footwork missing.  I was watching Giselle trying to be Lise.  There wasn't enough characterisation, either...the different aspects of Lise's character weren't delineated enough for me. However, as Anna says, this is someone who isn't trained at all in this very different style of dancing, and it was a laudable attempt.  I think it will get there with time;  a few more performances and I am sure that she will settle into the role and the steps as she becomes more comfortable with them.  Someone I was talking to afterwards said that she doesn't much like Ashton or Fille so she was glad Osipova was 'bigging it up' so it made it more exciting for her.  To each their own, I guess....

 

 

Makes me wonder why on earth she wasted money on a ticket, if she doesn't like Ashton or Fille!

 

I have seen Osipova several times now, and I agree that she tends to be a "big" dancer, in the sense that everything has to be pushed to the limit. 

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I tend to agree!

 

Yet these three have been given three shows and the cinema relay - McRae and Mosley for the third time, I believe!

 

Plaudits to Paul Kay, of course.

 

It's interesting that (apart from an adverse reference to Marriott) noone on here has commented on the Nunez/Acosta cast. Are we in danger of taking her, in particular, for granted, I wonder?

You beat me to it, capybara! :-) Was nobody at the Nuñez/Acosta performance on Wednesday?

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I was there on Wednesday but I seem to be hogging this thread a bit so was leaving it someone else to write some impressions.  I will just say that, as always, Nunez and Acosta were as warm and happy as the sunshine we have been enjoying in London recently.  They danced beautifully, their chemistry is still there in spades, and the two words I would sum up with are 'pure joy.'   Carlos adds just the right amount of Latin machismo (with his tongue firmly in his cheek) to make it funny without being hammy, and Nela is, well, Nela.  A smile whose radiance could light up the darkest of nights, and her delight in dancing Lise is from the heart and natural, and thus beamed right up to the rafters and beyond.

 

I actually like Marriott's Widow.  Yes he hams her up a bit, but he lets us know that he knows he is doing so, and, for this reason, I don't find it exaggerated. 

 

James Hay was very impressive in his debut as Alain.  All wide-eyed wonder as to this new thing that is a girl, and the new concept of marriage.  He made it very clear that he was at his happiest whilst playing with the peasants and being tickled and chucked under the chin by the girls.  Again, he is such an accomplished dancer that his body had much to say about this young man.  I am really looking forward to seeing this cast again on Tuesday night. 

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Well certainly Nunez has "gentleness" in spades and I just love Acosta's slightly "loveable roguish" Colas.....normally the two seem perfect together in this ballet.

I'm not necessarily expecting their particular dancing and interpretation in this ballet to be bettered (Nunez and Acosta) but inspite of some reservations by posters about Osipova and McRae am looking forward still to 5th May.

 

Let's hope they can both begin to discover their "inner Ashton" after a few more performances!

 

Hope everyone enjoys their Fille whenever it is in the rest of this run .......And yes inspite of its "lightness" as a ballet it's still one of my favourites .....I just never seem to tire of it .......and on the way home usually find I can't stop humming that end tune as most leave the stage .....before Alains big umbrella retrievable moment.. ......the one that goes

de da de de da de dah,

de da de de da de de dah de!

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I am sure that we are very happy for you to 'hog' away, Sim :-)

Yes indeed. I haven't seen Nunez/Acosta yet - for some reason, there weren't any tickets I could use for their performance, so can't contribute. 

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Nunez and Acosta would normally be the cast for me to see in Fille but their DVD is so wonderful, I thought I would book other casts instead for a change. Appreciate everyone's reviews though. I am so excited to see Choe in it this weekend, and to see Osipova later on.

Edited by Sunrise
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I saw Acosta and Nunez on Wednesday. I thought them both delightful, frankly. The are obviously good friends offstage and this was all to the good: onstage they sparkled. Nunez's smile seemed unfeigned and unforced, she seemed to be loving every moment. Binoculars revealed genuine joy on her face. Lovely mime too.

Acosta seemed a touch tired in places, but tackled the role with customary chutzpah. The wooing and romance very believable. Nunez a sweet Lise, and Acosta believably smitten (and understandably so: MN truly radiant.)

I have Muntagirov and Morera tonight, and McRae and Osipova next week. At the moment, MN and CA feel definitive to me, unimprovable, by strength of that chemistry. But I do love Muntagirov and am more than willing to be beguiled all over again!

Edited by nickwellings
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