Royal Ballet: La Fille mal gardée, Spring 2015

[FLOSS]

Osipova's Lise is definitely work in progress.It may well look much more integrated by the last performance in the run, MacRae's Colas dancing with Marquez somehow felt warmer than it does with Osipova. But he probably has less time to radiate warmth and fun and general joie de vivre because partnering Osipova clearly presents far more technical problems than partnering Marquez does.I think that the problem last night,apart from Mosely's Widow Simone which was seriously below par, was that I was too aware of the mechanics of the all the Lise, Colas pas de deux. I felt that I could see them thinking "Now we've got to do.the first "Bolshoi lift" what did we agree?". I know that it is difficult but the audience should not be aware of the difficulties.

 

 It may seem like a short ballet to the audience but the main roles are really taxing and by the end it felt as if dancing with a partner as tall as Osipova was taking its toll on MacRae.In the final pas MacRae and Osipova got far too close to the dancers grouped around Simone almost certainly through a slight loss of concentration by MacRae.

 

For me the performance lacked the feeling of spontaneity, effortlessness and charm that Morera and Muntagirov brought to it. Karsavina said said that " Colas should charm with innocence and should not be interrupted by any other mood " Muntagirov who  seems to be a danseur rather than a demi character dancer radiated charm and innocence while MacRae who by physique and temperament is a demi character dancer did not. Perhaps all the effort that he has put into recreating himself as a serious contender in princely roles now gets in the way when he plays Colas. 

 

Kay's Alain was a cheerful innocent sent out into the world before he was old or mature enough for it.If anyone is ever foolish enough to redesign this ballet I hope that they recognise that the clue to Alain is in large part in his costume. Act I Alain wears a jacket that he has clearly grown out of;a single button straining to keep the jacket fastened and in Act II a set of tails that have clearly been made on the basis that he will grow into them. Alexander Grant the first and, in my books,still the greatest Alain that I have seen gave an interview in which he was at great pains to explain that Alain was not a simpleton but merely immature. He also said that the characters in Ashton's ballets were portrayed as much by the details of the stage business that they were given as the steps that they dance and that the characterisation was always in danger of being lost because dancers thought those details were unimportant. 

 

As for Simone I think that everyone who is cast as Simone should be required to watch Stanley Holden on the DVD recording of the original cast not to reproduce Holden but to see how effective the stage business is in creating and maintaining the character. They all need to be reminded that Simone is essentially a peasant widow and must be credible as such. The one thing that Simone is not,however many times journalists refer to Simone as one, is a pantomime dame.I know that my mother was extremely impressed by Ronald Emblem's Simone who she thought looked and behaved exactly like a French peasant woman of a certain age. Emblem's Simone showed real affection for her daughter there was always  warmth between mother and daughter even when they were getting on each other's nerves.Simone loves money but she loves her daughter more. That it seems to me is shown particularly in Act II where they dance together and the choreography quotes from the grey girls in Les Biches and when Simone protects Lise and Colas from Thomas' wrath with her Swan Queen pose at the foot of the stairs.

 

I thought that Mosely was far too sour, grumpy and cold as Simone and his clog dance was the worst that I have seen in this run. Marriott was much improved on the last time that I saw him in the role but his clog dance was not in time with the music.Tuckett is by far the best Simone when it comes to performing the clog dance but then he spoils everything by introducing extra pratfalls in the harvest scene.As I watched him I thought how easily a ballet can be coarsened by bright ideas introduced  to make up for the supposed inadequacies of the choreographer.Fille is a comedy of recognition not pantomime nor slapstick . It is not meant to be a side splitting comedy. The comic touches that exist in the text are so underplayed that they do not register adequately for example Simone's response to finding Lise sweeping the floor should register far more than it does.Not quick hand to the forehead move on but "You must be ill, you're working! What are you up to?"

 

As far as the clog dance is concerned does anyone find it strange that this section is generally  so badly performed at Covent Garden? It can hardly be the case that the dancers involved have too little time to prepare for the role of Simone. Perhaps it would be better to find the latter day equivalent of Ronald Emblem and for both companies to use him in the role.

[MAB]

Can't believe the negative **** I'm reading about last night.  Don't people go to the ballet to enjoy themselves any  more.?!

 

For someone dancing the role for the first time Osipova was superb.  

 

And Philip Moseley was terrific as Simone, if you prefer high camp, fine, but few can do that and get away with it, I prefer Moseley's more conventional interpretation.

 

A vote here for McRae becoming Osipova's permanent partner.

[Sim]

Can't believe the negative **** I'm reading about last night.  Don't people go to the ballet to enjoy themselves any  more.?!

 

For someone dancing the role for the first time Osipova was superb.  

 

And Philip Moseley was terrific as Simone, if you prefer high camp, fine, but few can do that and get away with it, I prefer Moseley's more conventional interpretation.

 

A vote here for McRae becoming Osipova's permanent partner.

MAB, just because some of us don't like a performance or interpretation sometimes, it doesn't mean we don't enjoy ballet.  It just means that we don't like every single thing/dancer we see, just as you don't.  If we didn't enjoy ballet, we wouldn't go as often as we do, or at all.   If you read my and other peoples' posts about Fille, you will see how much we have been enjoying it.  We each have our own views of what we see; yours differs from some of ours this time, but to say we don't go to enjoy ourselves is just wrong.  Furthermore, to categorise my, and other posters', words with four asterisks replacing a derogatory word is disrespectful and really not on. 

[Two Pigeons]

Having just read this thread there are two points that have struck me. The first is that I once heard a talk with Jennifer Penney and she was asked about Lise. She said she had no strong desire to do the role as it was 'much too hard'. I don't remember ever even seeing her name on a casting leaflet.

 

The second is that there is a rare 5* review from Clement Crisp for the Marquez/ Campbell Fille. That is a performance I would liked to have seen.

[Fonty]

Goodness, didn't Mr Crisp give 5 stars to Morera and Mutagirov as well? 

 

He must be keen!

Edited April 24, 2015 by Fonty

[alison]

For someone dancing the role for the first time Osipova was superb.  

 

I thought we'd concluded that she'd danced it before with the Bolshoi?  If it was her debut, that's a different matter - but in that case it's still taking a bit of a risk to commit to broadcasting her third performance, isn't it?

 

MacRae's Colas dancing with Marquez somehow felt warmer than it does with Osipova. But he probably has less time to radiate warmth and fun and general joie de vivre because partnering Osipova clearly presents far more technical problems than partnering Marquez does.

[snip]

For me the performance lacked the feeling of spontaneity, effortlessness and charm that Morera and Muntagirov brought to it. 

 

Exactly.  And you may well have a point about the obstacles - although equally it should be recognised that I think 3 years have passed, and things may have changed.

 

BTW, I don't think I said it last week, but Muntagirov gave the impression that he was just delighted to get a chance to dance the role, and that it was something he'd been longing to do.  Or he could have just been in a really happy mood because it was his birthday  

 

 

Kay's Alain was a cheerful innocent sent out into the world before he was old or mature enough for it.If anyone is ever foolish enough to redesign this ballet I hope that they recognise that the clue to Alain is in large part in his costume. Act I Alain wears a jacket that he has clearly grown out of;a single button straining to keep the jacket fastened and in Act II a set of tails that have clearly been made on the basis that he will grow into them. Alexander Grant the first and, in my books,still the greatest Alain that I have seen gave an interview in which he was at great pains to explain that Alain was not a simpleton but merely immature. He also said that the characters in Ashton's ballets were portrayed as much by the details of the stage business that they were given as the steps that they dance and that the characterisation was always in danger of being lost because dancers thought those details were unimportant. 

 

Good points.  I wasn't aware of any of them, but now you say it it makes sense.

 

Furthermore, to categorise my, and other posters', words with four asterisks replacing a derogatory word is disrespectful and really not on. 

 

Absolutely.

[annamk]

 

 

A vote here for McRae becoming Osipova's permanent partner.

 

I hope not ! I think better physical and stylistic matches for both of them are to be found with other partners. I thought McRae/Marquez was a more complimentary partnership. They are physically better suited and Marquez has a natural warmth that McRae lacks, as I think does Osipova. That isn't meant to be a criticism, just saying that dancers are temperamentally different and it's a question of getting balance for a satisfying partnership. 

[Jane S]

Out of curiosity did anyone here see Melissa Hayden dance Lise with SWRB?  If so I would be very curious to know what you thought?  

 

I went to one of her performances (she danced it at Covent Garden with Flemming Flindt and what was then the Royal Ballet Touring Company) but for reasons unconnected with the performance I had to leave after the picnic scene. I only have a faint memory of it (it was more than 50 years ago!) and I think of it as a nice try - but Clive Barnes was much more appreciative, writing in Dance & Dancers:

 

"...she was delicious and assured. She gave everything with a difference. the choreography emerfed with a new vigour... and even Hayden's miming, while remarkably clear, was given with an American intonation.

 

Lise seemed to have been transported to Oklahoma and this made a nice change... Not better, not worse, but different, Hayden's Lise proved a fine testimony to the enduring qualities of Ashton's ballet [which was 3 and a bit years old at the time]."

 

In the same season she danced Sylvia (very well, according to D&D) Les Sylphides, the pd2 from Flower Festival at Genzano (not so good) and the Don Q pd2.

[ToThePointe]

I think that there is a time and a place for showing off and when it comes to McRae and Osipova I sometimes wonder if showing off is really all that they are about. Osipova's Giselle is, in my opinion, unbeatable and I've never felt so moved as when I've seen her in the role (well maybe Alina actually...) but when it comes to Ashton everything from the footwork to the characterization needs to be beautifully precise and timed to perfection. I felt there were times in her performance last night where she showed her nerves and just didn't quite 'get' it. It was almost as if she said, well I'll just give them what they pay to see me do which is big jumps and hurricane pirouettes. I find McRae a bit the same. He was a lot more toned down when he did Colas with Marquez years ago, but with Osipova by his side, I fear he felt the need to step it up and match her 'showy' technique. This is exactly what you need for something like Don Q, but with something dreamy like Fille, subtlety goes a lot further. I had the same problem in Swan Lake, where McRae did his usual 'blurry' turns during the Prince's solo. I was so annoyed as this is the only chance Siegfried gets to tell the audience "look I'm sad, I'm a Prince and I don't want to be, I have to marry and I don't want to and my life is a mess and I'm unhappy because I'm bound by duty". This solo should be slow and moving, so I really could have done without the 'look at me, I can spin' section from him. There's a time and place, and getting the mood of the character right is crucial for a successful performance.

 

There is absolutely no doubt that here we have two stars, but I feel someone needs to step in and explain that Ashton is about neat footwork, making the steps clear and precise. Morera did just this and displayed every element of the difficult choreography with perfection. With Osipova, I felt parts were rushed or, I'm afraid, a little messy. The humour also didn't seem to come that naturally to her, unlike Marquez who might as well change her name to Lise. 

[Bruce Wall]

I went to one of her performances (she danced it at Covent Garden with Flemming Flindt and what was then the Royal Ballet Touring Company) but for reasons unconnected with the performance I had to leave after the picnic scene. I only have a faint memory of it (it was more than 50 years ago!) and I think of it as a nice try - but Clive Barnes was much more appreciative, writing in Dance & Dancers:

 

"...she was delicious and assured. She gave everything with a difference. the choreography emerfed with a new vigour... and even Hayden's miming, while remarkably clear, was given with an American intonation.

 

Lise seemed to have been transported to Oklahoma and this made a nice change... Not better, not worse, but different, Hayden's Lise proved a fine testimony to the enduring qualities of Ashton's ballet [which was 3 and a bit years old at the time]."

 

In the same season she danced Sylvia (very well, according to D&D) Les Sylphides, the pd2 from Flower Festival at Genzano (not so good) and the Don Q pd2.

 

Oh, Jane.  Thanks so for this.  It means much.  Bless you.  

[Sunrise]

... unlike Marquez who might as well change her name to Lise. 

 

:-D Last time I saw her was with Cervera which was wonderful. In light of all the marvellous reviews I am so tempted to book to see her with Muntagirov now...

Edited April 24, 2015 by Sunrise

[Sim]

You will have to push me out of the way first, Sunrise!!!  Seriously, it really is worth you going to see her if you can.  Good luck!

[FLOSS]

I said that Osipova's Lise was work in progress I stand by that.statement. I don't suppose that anyone is pitch perfect at their first performance of Lise except ,perhaps, Nerina for whom and on whom the role was created. All Ashton's works are technically challenging and all the more so because they must look effortless.From what I have seen of Osipova so far she learns and she learns very quickly and her last performance in the run will look very different from her first one. I do not necessarily find Osipova's performances too big.if a dancer is able dance musically and does not expect the music to be slowed down to accommodate him or her that is fine. For me a ballet performance is about more than merely reproducing steps accurately. it is a about dancing the ballet which  involves apparent ease and facility in partnering  the gift of apparent spontaneity and appropriate characterization.

 

Based on a recent viewing of Seymour in the role. Osipova's first night Natalia Petrovna was far closer to Lynn Seymour's performance of the role than many that we have seen at Covent Garden recently. Somehow the idea has developed that Ashton was a small scale choreographer who made miniatures and expected safe small scale performances which is far from being true.

He liked dangerous dancing.

 

I sat down today and asked myself the questions about my response to last night's performance. Now as this is purely subjective I can not be right or wrong in my assessment and nor can anyone else.I do not go to the ballet to find something to dislike or criticize. I do not expect people to agree or disagree with me.My comment about Marriott as Simone was prompted by the fact that until this latest run of performances I have regarded his presence in a cast as the price that I have had to pay in order to see dancers who I wanted to see as Lise and Colas. Last night he was not as good as he has been in the past.

[FLOSS]

Sorry. The last sentence refers to Moseley.

[billboyd]

Some of the above comments belittle Natalia Osipova. She deserves better.

[Anna C]

Some of the above comments belittle Natalia Osipova. She deserves better.

I think everyone is entitled to their own opinion of any subjective art form.

[ToThePointe]

For me a ballet performance is about more than merely reproducing steps accurately. it is a about dancing the ballet which  involves apparent ease and facility in partnering  the gift of apparent spontaneity and appropriate characterization.

 

 

I couldn't agree more, which is my very issue with Osipova's performance last night. Technically she's out of this world, but I didn't see much spontaneity and I certainly didn't see the same level of characterization that the others have mastered. You're right, she will learn and I'm sure she will improve, but for me, there were no surprises last night. 

 

 Somehow the idea has developed that Ashton was a small scale choreographer who made miniatures and expected safe small scale performances which is far from being true.

He liked dangerous dancing.

Sure he liked dangerous dancing, just look at the complexity of his choreography. There is nothing safe when it comes to Ashton. What he does ask for though is precision. It's not enough to overshadow his choreography with 'dangerous' attack, because then you're in danger of loosing the Ashton style, something which I know many people fear is happening.

 

 

 

I do not go to the ballet to find something to dislike or criticize. 

Although this is a Forum where we all debate and state our opinions, I think very few of us go to the ballet just to pick out the negative. What joins us all and brings us all together is this beautiful world of dance and I think we all go because we appreciate it and love it as an art-form. Well I do anyway, to go with the intention of finding something to dislike every week would give me a headache that's for sure!!

[LinMM]

Yes I suppose because we know and love this art form so well when we are being "critical" it's a case of splitting hairs I think or similar anyway. As you get to know the ballets you get to know every nuance of a performance.......which others may not necessarily pick up.

 

To make a comparison .....though probably not a very good one ....if you only rarely watch football you probably can't really tell a good pass/ move /strategy from a bad one only whether the game was exciting or generally entertained you or not. But of course if you are "into" football then every players move within the game is scrutinised to the "nth" degree sometimes because as an old hand and afficionado so to speak you pick up on things the less frequent attender or watcher would not.

[EM12]

I thought Osipova was absolutely incredible yesterday evening.  I could tell she was a bit nervous and wasn't quite settled at first but she certainly relaxed as the evening progressed. I thought her characterisation of the role was wonderful as was her technically flawless dancing. As a debut dancing a very different style to which she has been trained I thought it was very impressive (I’m a bit confused as to whether it was actually her debut. I hear differing views). Her talent is extraordinary.

 

I thought McRae was the perfect partner for her in this ballet. I wouldn't necessarily pair them together in some other ballets but for this one I think it was right and they had good chemistry.

 

I really liked Philip Mosley’s Widow Simone until the clog dance. This just didn’t seem to be in time with the music.  I’ve seen a fair few Filles but never noticed this so noticeably before.

 

Paul Kay as Alain was superb. Probably the most polished of the evening I think.

 

As for Peregrine – well, everytime he steps on stage, my heart just melts. And his hoof moved in time to the music as well!

 

I can’t think of anywhere else I’d rather have been yesterday evening (expect perhaps a better seat)…

 

I rarely post on this forum but it is so interesting to be able to read everyone's differing opinions!

[LinMM]

Is the Fille the Russians do the same as RB though?

 

I may have this wrong but thought their Fille has a different choreographer and even music may not be the same.....will check.

If this is the case then it would have been her debut in our version of this ballet.

[Jan McNulty]

The Bolshoi, I believe, now perform Ashton's Fille but there is another production by Gorsky performed by many Russian companies.

[MAB]

Ashton

 

https://www.youtube.com/watch?v=C4YuS8T3yAg

[capybara]

Another scintillating show tonight from the cast led so wonderfully by Morera and Muntagirov. WOW!!!     

[sarahw]

Can anyone help on the cinema performance? I know it is 5 May but I'm sure I heard it may be repeated the weekend after. I cannot find any information anywhere. .... Not good for kids on a school night. ....

 

Thank you!

[helpop]

First time seeing La Fille tonight...I really enjoyed it!  Probably going to be one of my favourite ballets, as I like light hearted fun ballets (there are far too many choreographers around trying to build credibility by going for "serious" aka gloomy themes and lighting in my opinion!).

 

Muntagirov had a great presence and brought an infectious warmth to the role.  I had the sense that by the end he was pretty tired, and in the final act there was a bit of hesitation with some of the lifts - like he'd got into position too early then had to stand there waiting for the right moment to lift her.  But I'm nitpicking to an extent - generally he was his usual technically wonderful self.

 

I was pleasantly surprised by Laura Morera.  She's not done a lot for me in previous performances, but tonight she seemed to really suit the role - she had a down-to-earth vivacity and playfulness which worked really well.  And her dancing was wonderful - really light and beautiful but fun at the same time.

 

Enjoyed Will Tuckett as the widow and Gary Avis as the neighbour very much.  I admire Mr Avis' ability to put aside his own ego and waddle round the stage like he's got a duck down his trousers, letting others steal the limelight.  As he's still a very fine dancer, it shows he's putting the company and performance before himself I think.

 

I wasn't too sure about Paul Kay - mainly I think because I didn't entirely get the character.  Is he supposed to have learning difficulties (I guess what used to be called a simpleton, in the La Fille old pastoral context)?  Or is he just very shy or awkward?

[helpop]

Can anyone help on the cinema performance? I know it is 5 May but I'm sure I heard it may be repeated the weekend after. I cannot find any information anywhere. .... Not good for kids on a school night. ....

 

Thank you!

 

There's a repeat on Sunday 10th.

 

Locations here: http://www.roh.org.uk/search/screenings?location=London%2C+United+Kingdom&showing=5103

[aileen]

Yes, the Alain character makes me feel a bit uncomfortable. I'm going to assume that he is just very young (they would have married early) and gauche. It was a great company performance and I include Peregrine in that (great pawing and it was hilarious when he just decided to go off stage). I've not seen Fille before and really liked all the dancing; the corps work looked pretty demanding. I found Morera and Muntagirov very appealing together; their pdds were really affecting and there didn't seem to be any ribbon mishaps. This is the first time that I have really liked Morera in anything. She was a bit of a revelation to me. I didn't think that she had it in her to be kittenish; normally, she comes across as rather worldly or knowing.

[hfbrew]

Have lost count of how many times Ive seen Fille but still enjoyed it tonight as much as ever.

 

There were a few stage problems with doors not shutting properly, which meant in theory Colas could have just run outside instead of hiding in Lise's bedroom!

 

Really enjoyed all the cast. Ive seen Morera in many roles, the last being Giselle where she produced, for me one of the most harrowing death scenes. Tonight she showed once again how versatile she is and was a lovely Lise once again. Vadim danced beautifully too and held his nerve on those infamous lifts, dh and I felt that the music was too slow in places which didnt help the dancers timing.

 

Had really warmed to Paul Kay by the end, one of the best Alains Ive seen for a while. And as ever, I enjoyed Gary Avis too!

 

And Peregrine was enchanting.

 

What I most enjoyed though was the reactions of those around me who clearly had not seen this Ballet. It was great hearing the chuckles , out and out belly laughs and aahs from those seeing it for the first time. I almost envied them being able to view it as first timers to this Ballet. And not one rustly sweet or annoying phone screen.

Bliss!

 

And final mention to the corps who danced with such enthusiasm, good to see so many that ds was at school with!

[alison]

I had the sense that by the end he was pretty tired, and in the final act there was a bit of hesitation with some of the lifts - like he'd got into position too early then had to stand there waiting for the right moment to lift her.  But I'm nitpicking to an extent - generally he was his usual technically wonderful self.

[snip]

Enjoyed Will Tuckett as the widow and Gary Avis as the neighbour very much.  I admire Mr Avis' ability to put aside his own ego and waddle round the stage like he's got a duck down his trousers, letting others steal the limelight.

OTOH, he did his own little bit of limelight-stealing the night before, as the notary in Act II. I almost forgot to look at anyone else

 

And yes, I too thought I detected something a little "off" with Muntagirov tonight - or perhaps it was just that he wasn't quite as "on" as he was last week? Or my changed viewing position?

 

There were a few stage problems with doors not shutting properly, which meant in theory Colas could have just run outside instead of hiding in Lise's bedroom!

 

[snip]

 

What I most enjoyed though was the reactions of those around me who clearly had not seen this Ballet. It was great hearing the chuckles , out and out belly laughs and aahs from those seeing it for the first time. I almost envied them being able to view it as first timers to this Ballet.

Well, *Lise* could have run outside, too - but then that would have ruined the whole thing

 

Agree about the newbies: I had some sitting near me, and it was great to hear them so obviously enjoying it! Quite took me back to my own first time, when I just wanted to go back and watch the whole thing all over again. Immediately. (Never mind the poor dancers )

 

BTW, is Muntagirov the tallest person ever to dance Colas? I'm trying to think who else of his sort of build I might have seen in the role.

[aileen]

Well, not knowing the ballet the only thing that didn't seem quite right to me was the bottle solo in front of the curtain. I felt that Muntagirov didn't have enough room and I was nervous that he might fall off the stage. It's a long time since I've experienced such heartfelt and warm applause at curtain call. Often, the applause seems appreciative and respectful rather than an expression of genuine enthusiasm for a performance which has been thoroughly enjoyed.

[Balletfanp]

He said in an interview only a couple of days ago that he found that solo challenging because his long legs didn't allow him much room!. I must admit when I saw it last week I was holding my breath a bit.

[sarahw]

Thank you helpop

[Beryl H]

I enjoyed the first night so much that I went again last night, even with very high expectations it was just as heart-warming, think Morera and Muntagirov really seem to bring out the best in each other, and dance so beautifully, I've never enjoyed Fille more, it hasn't been a particular favourite of mine until now!

 

Great cast all round, even Peregrine was extra frisky, doing several hoof movements, and then deciding to leave the stage early, nearly pulling his keeper over.

 

Looking forward to seeing Osipova and McRae next week, having read my 2010 programme it appears some of the choreography for Lise and Colas was Bolshoi inspired, so perhaps "bigging it up" (love that expression) isn't out of order.