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The Royal Ballet, Manon, Autumn 2014


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I've seen three Manons so far this run (Nunez, Hayward and Osipova) and it never ceases to amaze me how differently people can interpret the role.

 

Nunez plays a very knowing Manon, right from the start. This can works, but how well depends (for me at least) on a very intense and heartbreaking Des Grieux, or else the tragedy of Act 3 is somehow lost. I'm not sure Bonelli quite got there...I remember seeing Pennefather and Lamb the last run of Manon and thinking that the ballet could almost be renamed Des Grieux, off the back of Pennefather's acting and performance. His Acts 2+3 were devastating! Sad I'm not seeing them this run.

 

Hayward blew me away completely. She will only get better technically, but the characterisation was already so full and cleverly nuanced! I can't remember seeing the Act 1 pas de deux outside the pub danced that well since my very first Manon (with Guillem and Cope in 2005 - I've probably seen it at least 20 times since then!). I was particularly impressed with her musicality.

 

Osipova - it sounds like I was lucky to have seen her second performance rather than her first, but that Act 3 will stay with me for a very long time. I remember when I watched Guillem back in 2005, willing her not to die simply so that the pas de deux would carry on - I felt exactly the same on Saturday. It looked as though she was absolutely spent but somehow managing to keep moving, and beautifully, which is of course exactly as it should be. I did think that Osipova's characterisation for the bedroom pas de deux in Act 2 needs a bit of work - she seemed to take the taunting of Des Grieux too far, and I didn't really feel her devastation when Lescaut died - which was a shame, since I thought that she and Soares had built a really detailed relationship between their two characters. However, given that was only her second performance I think I can let her off!! Very excited to see her again in the future.

 

I've waffled on for too long already, but one more thing I noted when reading this forum was the critique of Morera's interpretation as being too simplistically naive, but with a very tragic finale. Interestingly, my memory of Guillem's interpretation of the role is that she played Manon very much like this - as the young naive who was manipulated by Lescaut and GM but was truly in love with Des Grieux. Maybe I was just too young, but that remains the best Manon I have ever seen and so I wonder whether I don't prefer that interpretation. I certainly think Osipova tended more towards that version (with a bit of mischievious enjoyment at the discovery of how beguiling she could be in Act 2)

 

Seeing Yanowsky and Bolle next weekend and then I'm all done with Manon for this run (sadly)!

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He's apparently over 6 ft; let's hope that's tall enough.

 

I'm a bit surprised they didn't substitute Pennefather or Kish, though. Has Yanowsky ever partnered Golding in anything major? From what I've heard about him, he's a bit wooden, and that might not look too great next to one of RB's most expressive actresses.

 

Surely they won't bring Bolle over for just one performance.

Edited by Melody
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 (i) From what I've heard about him, he's a bit wooden, and that might not look too great next to one of RB's most expressive actresses.

 

(ii)  Surely they won't bring Bolle over for just one performance.

 

(i) There have been some good reports on Golding's DG already this season.  I remember Coated's review on this score.  Might be interesting for you to look back at such, Melody.

 

(ii)  Why not?  Bolle is simply fulfilling his contract and, sadly, was unable to fill simply the first of two contracted performances.  As it is he is only coming from Milan.  I ran into him on the street in Milan when I was there for business last month and he said how much he was looking forward to his return with the RB.  I would assume he is already here and may well have rehearsed.  This hand issue obviously came up very quickly and hopefully is sufficiently minor to allow him to undertake the second contracted performance.  If not, assume Golding will be at the ready and certainly well prepared.   

Edited by Bruce Wall
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Yes i remember watching that bayadere with Golding and Yanowsky.. Technically he was an alright partner but emotionally I felt a lack of connection so I too am worried she won't have enough to work off..! But I'm optimistic from his Des Grieux reviews and actually quite excited to see him flex his expressive muscles. Shall report back this evening!

 

Yup Bolle was well and rehearsing with Yanowsky just up to a couple days ago..! http://instagram.com/p/usL82BFs36/

Edited by lyn
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Wow I felt compelled to post after last night’s Manon! The evening began rather shakily, given the almost last minute cast change, but ended up being such a thrilling and emotional night! In the first pdd between Manon and Des Grieux, I don’t think I was the only who felt worried for the dancers as there were uncertain moments with the partnering. A lift that should have soared looked tentative, for example (understandably). The bedroom pdd improved slightly, though it left me wonder how they were going to cope with the tricky pdd in Act 3! But amazingly everything just soared from there. Zenaida Yanowsky is such an incredibly expressive dance-actress, her characterisation is layered and detailed, her dancing grand and sumptuous. She had amazing charisma, which projects up to the amphi. In Act 2 she was absolutely gorgeous, a Manon revelling in her sensuality. Her Act 2 solo was just mesmerising. The detailed interactions between her and Will Tuckett’s lecherous, brutal GM at the table added so much to the story. In Act 3 her Manon emerged looking completely broken from inside out. Her naturally regal bearing was gone and she was utterly believable as someone dying from consumption. The scene with the gaoler (the always excellent Gary Avis) was disturbing beyond words. I had no idea what she and Matthew Golding did between Act 1 and 3 but they completely went for it in the swamp pdd, even managing the tricky lifts and spins! Unlike in Act 1, I was completely swept away. Yanowsky looked completely wiped out and Golding was holding her up during their first curtain call. When she didn’t make the rest of the curtain calls, I was worried that she may have injured herself. But she did make the red run curtain calls to receive the much deserved cheers (apparently she had severe cramps and couldn’t stand up by the end of the ballet!)

 

Golding had a super tough job replacing Roberto Bolle at extremely short notice, and one suspects that he did as well as he could under the circumstances. I did feel that he was putting more and more dramatic details in Des Grieux’s solos as the evening progressed. Yanowsky appeared very appreciative of him at the red run curtain calls, which was touching to see. Carlos Acosta seemed completely at home as Lescaut. The drunken pdd with Laura Morera had great comic timing! In fact, the entire supporting cast was excellent.

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Wow I don't know where to start with last night's performance! As Patt said it was quite the emotional roller coaster. Act 1's pdds really were worrying.. In the first pdd, I think he actually dropped her one lift, the the motions were jerky and clumsy, and then at the end, (not really a technical fault but just a boo boo) they crashed into a chair on stage and toppled it. Not only did it fall flat technically, one could see it was slightly affecting their expressions as well.. Yanowsky actually seemed a bit nervous through Act 1, Golding tentative in his 'proclamations of love', such that I don't believe Manon ever fell in love with Des Grieux.

 

But that's the thing, the strange pairing added a rather unique narrative to the whole thing. Because they really did seem to lack chemistry, to the point that despite their individually fantastic performances (even in the last pdd they felt a bit like ships passing in the night), it somehow spun into a very Manon-centric story where Des Grieux was nothing but one more fleeting play thing, like the passing jewels, that she tried to cling to for a sense of self (or for self preservation) but failed with time and again. The viscerally exhausting last pdd almost looks like an infuriated fight against herself, a truly tragic expression of personal loss and railing against circumstance. Thus as the dancing and expression markedly improved over the night but their chemistry didn't, it actually made for a riveting story. (This was actually my first Manon ever so I don't actually know what the detailed story is supposed to be..! Hopefully someone could enlighten me on exactly what Yanowsky did to make it different?)

 

It really is commendable how they both made last night work. At the stage door Golding said they only started rehearsing the day before, and Manon really doesn't look like the kind of ballet you can do that for. Actually the night's dancing improved so exponentially probably because with every Act was probably doubling their rehearsal time. I think there was an audible sigh of relief with the success of the last pdd, even if he didn't throw her quite death defyingly and even despite her cramps. Yanowsky after exclaimed quite in shock that she'd never had an experience like that on stage before; both her calves went out and as Patt said she couldn't make the first curtain call. She was flexing her feet during the choreography and as a Manon newbie I thought it was part of it :x so such was her skill and tenacity regardless that I didn't even realize she was injured till practically she said so. Well, it all certainly added to a truly moribund Manon at the end of it. It was so heart wrenching and depressing I truly had to sit in the theatre a while longer after to collect myself.

 

Some parts about everything else.. Acosta was BRILLIANT. I've never seen him live before or any other Lescaut, but the drunken dancing sure seemed extremely original and refreshed. I was bowled over laughing. Also a note to Francesca Hayward, who i've never seen but kept catching my eye even as part of the corps. And Gary Avis was truly horrifying. I felt nauseous in his pdd w Yanowsky, I can't believe how real that scene felt. Honestly disturbing.

 

I will surely wax lyrical about more elements in a bit, but that's the gist of it for me!

 

Edit: sorry too excited on the phone and replied too early!

Edited by lyn
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It sounds as though the extra rehearsals took their toll on the Royal Ballet's "old lady" but gosh, that whole experience really did sound like life imitating art.

 

Good thing there's a couple of days before she has to get out there and do it again.

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Fantastic performance by Zenaida and Roberto Bolle tonight. Standing and stamping ovation. It was HOT!  Great passion from Roberto, marvellous dancing and acting from them both, superb partnering / pdds, I was sat on the edge of my seat it was so good - and that was right from the off, They gave it everything and produced magic. I really enjoyed Carlos as Lescaut and he and Laura Morera had a ball together. Act 2 contained so many different nuances I struggled to know where to look so as not to miss anything.  At one point Carlos conducted the dancers in his drunken state.  Loved William Tuckett as M.GM - had a real presence, plus of course we had Gary Avis as the gaoler.  Didn't want it to finish. I think we have seen something rare tonight.  

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Ooh, lucky you, Jenny. Bolle is such a dreamboat (shallow comment!)

 

Well, if you saw the YouTube video of Zenaida Yanowsky talking about Manon, you'd see that she agrees with you. She sounded like a starstruck teenager, talking about him!

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It was interesting indeed to see Bolle as DG.  He has matured theatrically - having found a thespian confidence - since I first saw him as an enticingly wet Romeo to Rojo's (equally embryonic) Juliet in the premiere of Deane's ENB production.  There Bolle was every bit the male equivalent of Nicole Kidman's 'living viagara' (as termed by Charles Spenser late of the DT) in Hare's The Blue Room.  Indeed, all are artistes of a similar vintage.  Bolle's technique has always been secure (unlike some other DGs we've witnessed in this RB run - [decidedly NOT Muntagirov - IMHO the most richly comprehensive of all here assembled])   Indeed Bolle reminded me in this role last night of the refined glory that was Jose Manuel Carreno, a Cuban gifted with that heady combination of ultimate refinement in balletic craft and dramatic acumen - one always rightly celebrated for the adroitness of his artistry - (and sadly one which the RB did not know how or where to place when he was briefly brought into their ranks from ENB on his way to international adulation as an ABT principal).  Carreno's through line in each regard - such as Bolle's was last night - was always consistently adroit.  In MacMillan's later works - so oft enriched by clever pas de deux hung on an expanse of narrative wadding - such determined individualistic frangibility is surely key.  (Sadly London never saw Carreno's artistry in this role which I was lucky enough to see him enhance with Ananashvilli in glorious tow as in so many other cherished principal parts.)  Bolle, now harbouring long experience in DG's regard, was more than a simple pair of safe hands (even though a plaster was oh, so carefully apportioned on one).  It was with some horror I read here of the dangerous combination that Yanowsky suffered through in her other performance during this (assuredly her last RB Manon) outing.  Although her  more than able Manon was out for a good time from the start having obviously been spoiled from infancy and dying - at least last night - from what I assumed was merely a lack of an initial innoculation of so-called 'sterner stuff' - did not deserve to be personally threatened.  No one does.  I'm so glad I wasn't at that other performance.  I SO fear watching dancers in real danger.  It is SO unfair not only to them but to the supporting audience.  Such robs the observer from their active passivity in being the first and last character of a piece.   In such a case one doesn't have a hope in hell to 'see the music; hear the dance'.  Acosta's Lescaut last night was a pantomine delight - and I do - on very rare occasions - enjoy a good panto much as I occasionally thrill in having chips with my fish.  I can see him - much as, say, Sir Ian McKellan did - delighting in Aladdin but assuredly as a titillating Abanazar rather than the latter's zealous Widow Twanky.  Acosta's clear delight in his own crudity as a stock drunkard was entirely inviting (and oh, so different from the careful caressing in this role Zucchetti exhibited earlier in this run).  Acosta's devoted UK following - heatedly present - vociferously lapped every second of the indicating charade up.  

 

That ALL said, the performance of the evening FOR ME had to be Morrea's Mistress; one who danced through and around the societal scars she'd long fought to subsume.  T'was true artistry and I found myself feeling profoundly sad knowing - given the established time spans between outings of such RB rep pieces - that we will almost certainly not see its specific like again.  One more reason to be entirely grateful for its particular gift.  

Edited by Bruce Wall
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I was pleased and relieved to see Roberto Bolle last night, I have fond memories of him and Darcey Bussell dancing together, didn't think he would dance but he did and looking as good as ever, Zenaida Yanovsky gave an almost scary risk taking performance, at the end I wasn't sure if the pain was real or just her extraordinary acting,  I can't take any more Manons like this, wonderful way to end the run!

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I am so pleased that last night's show was such a triumph for Zenaida....she truly deserved that, especially after the performance on Wednesday night when she was almost cut down by cramp in Act 3, but gamely managed to finish the ballet.  I was so disappointed not to have seen her with Bolle because that would probably have changed everything for me.  Golding really did try his best, but on pointe Zen is taller than him and it just didn't look right to me.  They hadn't had more than a few hours' rehearsal time together and despite their best efforts it showed.  It was just one of those things.  On the night I didn't much like Will Tuckett's GM;  I thought it was rather insipid.  However, my daughter disagreed with me and said she really liked his portrayal because instead of the usual 'evil' interpretation she said he was playing him as a madman.  When I thought about this, I liked his performance a lot more!  For me, the best part of the evening was Acosta and Morera.  I've said it elsewhere on this thread and I will say it again:  Morera is the best Mistress we have at the moment;  her interpretation goes much deeper than anyone else's, and she really gets it.  Acosta was having a great old time out there and has a natural comedic flair.  Coupled with his Latin cheekiness, I could almost overlook the fact that he would pimp his own sister for money...and that's quite an accomplishment!  

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I can't take any more Manons like this, wonderful way to end the run!

Exactly, it will be while even before I can sit through another ballet, both for being emotionally spent, and the fact that I fear anything else would pale in comparison.

 

Both Zenaida and Roberto were on such fine form last night, and they both knew it. The bedroom pas de deux was spectacular, their bodies in perfect symmetry. I've never seen such exquisite partnering before, where he whips her around but resists just at the end to guide her in gently to an embrace, or throws her then catches her just precisely to decelerate to a gentle loving lull. The way he dips her into the sequence of penchés is so smooth she doesn't even seem to touch the ground, where on Wednesday she kept crashing jerkily into it. Sigh. The timing between them is impeccable.

 

And overlaid on this perfect dancing were their own gasps, laughter almost, that I sat blessedly close enough to hear. Thick with emotion, these two really enjoyed playing with each other, swatting cheekily, and I especially love their innocent joy when she takes over to "partner" him. Between the perfect motions, they find the time to smile at each other, touch lovingly, display time and again just how deeply their falling in love. They sat together at the end in each other's arms, just soaking in the cheers and not wanting to get up, grinning both like lovebirds and principals who just had the pas de deux of their lives.

 

Roberto is finally the partner worthy of Zenaida's expressiveness. His Des Grieux is so textured, so infinitely more layered than what I saw on Wednesday that I really wonder what got me so hyped up then. He takes all these shy boyish glances at her through Act 1, is really troubled by her rejection in Act 2, and earnest in his attempts to moralize her. I almost want to say it's not worth it for Zenaida to dance without someone of his caliber. From the get go she was so obviously more relaxed (can't blame her, Wednesday must have been nerve wracking) and she kept running wantonly, full tilt at him for those incredible lifts and spins. He brought out the best in her for sure, I've never seen her technically better, nor emotionally, because her expressions finally had something to reflect off then build off of.

 

The applause and whoops and stamping and standing really were enthusiastic. I too am sure this is Zen's last Manon so I'm glad for her it was so perfect. She certainly was very, very happy after :)

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I doubt that I can write more eloquently than Lyn about what seemed to me a truly remarkable evening. The emotion was palpable and, as Beryl wrote, Manon's physical anguish at the end seemed all too real. Bolle too, who I had mistakenly pre-judged as a blandly handsome dancer, was utterly involved, almost howling by the end, and it was this emotional truth that, for me, was at the heart of the performance's success.

 

Neither Yanowsky nor Bolle is in the first flush of youth and her height and physical maturity as well as his own length of limb might seem to mitigate against them in roles conceived for much more compact dancers. Yet so convinced were they that they were utterly convincing, and as the passion of new love gave way to physical abandon, the desolation and guilt of betrayal, the heartbreak of recrimination and the struggle and humiliation of deportation and death the audience was caught up completely in what it is too easy and simplistic to call their "journey." It was a real example of Juliet syndrome - that you'll play it better at forty if you get the chance.  

 

Both dancers exhibited remarkable technical brilliance too, wonderfully well matched in line. Not a step, extension, turn or lift seemed shirked, a real achievement given that physically there is just so much more of the dancer to be accommodated, but there was no sense of rush or discomfort. Bolle's long, elegant line as he wooed Manon was truly beautiful, sculpting pictures of emotion in the air and his solo of loss at the Hotel Particulier heart rending in its simple anguish. His height and strength helped flesh out Des Grieux and this also enabled Yanowsky to release all her powers as a dance actress secure in the knowledge that she would not be over powering her partner.

 

In many ways, her entry in Act 3 was the most shattering moment, all physical confidence drained away. The contrast was so marked from the glittering creature we had seen swimming above the men, leg lifted high in the previous act. Just as some singers are not afraid to make an ugly sound in the pursuit of emotional truth she seems able to use her body to create desolation and loss without caricature but with overwhelming conviction. 

 

Acosta has fun as Lescaut. I missed the more sinister, complicit edge that Campbell brought to the role and his dancing looks a bit lumpy and heavy thighed next to Bolle but his charisma carries him through and he and Morera, who was dancing as usual with great detail and attack, were genuinely amusing (and risk taking) in the Drunken pas de deux. Tuckett's slightly insipid decadence as G. M. was pretty creepy and Avis, such an extraordinarily versatile dance actor (I know I'm stating the obvious) managed to physically as well as emotionally dominate Manon in the scene that finally breaks her with the physical violation that is the ultimate trajectory of her decline from eager young girl through courtesan to the vehicle for a thug's brutally physical satisfaction.   

 

A wonderful performance such as this, aided by some splendid playing from the orchestra under Martin Yates, also reinforces MacMillan's choreographic skill. Yes, there are an awful lot of harlots and beggars padding out the ballet, but there are moments that for me are truly compelling. It's not just the obvious things - the purely physical manipulation of Manon by Lescaut and G M. in that unsettling trio, the degraded girls shaking their shaven heads in shame while running after lost dreams, Manon sashaying her way on pointe in her signature walk looking neither to left as she ignores the detritus around her - but little details - that extraordinary moment when four essentially predators literally put their hands on Manon to lay claim and she in a sudden and all too temporary gesture of independence rejects them, Manon joyfully partnering Des Grieux, Manon desperately reaching for the stars in her last moments echoing the moment when she is lifted aloft in triumph in Act 2. Everyone loves the Bedroom Pas de deux but the end of the ballet with Manon desperately running across the stage before falling to be caught by Des Grieux at the last moment and her death in mid air are surely amongst the most original and arresting dance images of the last forty years since the ballet's premiere. They thrill but unnerve even now. 

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I thank all the Ballet.coers who are able to describe last night's performance far more eloquently than I could. Reading all the posts bring back the emotion of the evening and the sheer brilliance. I've seen many Manon's in my time, including Sylvie Guillem's last one at the ROH which will forever live in my memory.  

 

Last night was extremely special - two very experienced dancers coming together and melding extraordinarily to produce the performance of a lifetime. Added to that the rest of the cast all adding their very special contributions.

 

I think everyone on stage feeds off each other in these situations. They know it's marvelous and special and that just ups the all round performance from everyone.

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So even though they put on a lot of casts, it looks as though just about all of them were successful as well as giving lots of different interpretations of the main character.

 

And even better, the run of Manon performances went out with a bang, not a whimper, which will leave people wanting more!

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Saturday's Manon was indeed one of those special performances that only come around once in a blue moon.  Honoured to have been there.  I loved it.  Having first seen Marquez/MacRae then the cinema Nunez/Bonnelli this performance topped the lot and a third viewing revealed so many threads with all the activity behind the main performers it was hard sometimes to know where to look!  Bolle and Yanowsky were amazing and Acosta was a really great Lescaut especially in the drunk scene where he and Morera were just brilliant!  I really wish Bolle would guest more often I was very impressed with him.  I was lucky enough to get to the stage door and meet all the dancers - Gary Avis and Will Tuckett both commented on what a performance it had been so when you hear that you know you have seen something special! 

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Relevant to the differing views of Manon's character, I have again just come across a comment by Kenneth MacMillan quoted in Jann Parry's biography of him.

 

When he offered the role to the 19-year old Alessandra Ferri she demurred claiming she did not understand Manon's character. He told her that was exactly why he had chosen her - Manon, he said, does not understand the impact she has on men.   

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Manon desperately reaching for the stars in her last moments echoing the moment when she is lifted aloft in triumph in Act 2.

 

I hadn't noticed that at all, thank you for pointing it out!! MacMillan truly was genius. So much of the last act echoes the first that I really wish I had the chance to see it a few more times. If I'm not wrong the music in the Gaoler scene copies that of the bedroom pas de deux (at least it sounded very familiar), and even the quill has an intentional repeat appearance? Also I don't know the symbolism of having the ballet start with a seated Lescaut, but it seems poignant indeed. Then there's the ratcatcher who Manon recoils away from both at beginning and the end, who symbolizes... ?

 

As Jenny mentioned it's a delight to relive the night through others' takeaways! Many random but amazing little touches are coming back to mind, even as the raw emotion of it fades all too quickly... Yanowsky cheekily tugging on Bolle's coat tails for one last kiss, him scoping out the port in a surprising ac of chivalry before letting her descend the gangway. And he particularly impressed me with this one gesture in the bedroom pdd where he gives her a double take. The choreo is such that he looks at her, then away, then at her again in the space of a few seconds, and in the first look Bolle is beaming, and in the next, his face is suddenly completely serious as if he's so passionate for her it hurts. I know it sounds like the smallest thing but the fact that he bothered to tweak and interpret this.. 3 second choreography for his head, well it's pretty awesome.

 

Was the Queen's Jubilee black swan pdd the only other time Yanowsky and Bolle danced together..?

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Then there's the ratcatcher who Manon recoils away from both at beginning and the end, who symbolizes... ?

 

The fact that she hates/is scared of rats, I think :)

 

In that case, just imagine how bad the sea voyage must have been for her.  I don't imagine the deportees had the luxury of cabins.  And yes, I think there are echoes everywhere once you start looking for them.

 

It certainly was a marvellous performance to finish off the run: I only wish that the antics of certain people in the slips hadn't distracted me from some of the more dramatic parts of it.  And sorry that those who had tickets for the Wednesday didn't get a chance to see this partnership.

 

And yes, I'm sure Yanowsky and Bolle have danced together before.  Didn't they do Sylvia together?  Actually, that may have been him and Bussell.  Or both.

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According to the ROH database, Yanowsky and Bolle danced Swan Lake in 2005 and 2009 and La Bayadère in 2007. I wonder if Bussell was supposed to do the pas de deux at the Jubilee performance and had to be replaced, because it seems a bit weird to have had a Spaniard and an Italian dancing for the jubilee when there was a home-grown British ballerina available.

 

Incidentally, unless I'm miscounting, Yanowsky was wrong when she said in that YouTube clip that she didn't dance Manon until she was 32 - if she was born in 1975 and first performed it in 2005 she'd have been 29 or 30. Which is still pretty late for someone who had been a principal for several years already and was known as a strong dramatic ballerina, but not quite as bad as 32.

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