A new Royal Ballet Swan Lake?

[Odyssey]

Just had a look at my cast list when this production was at the B'ham Hippodrome (April 1989) Susan Hogard is cast as both Odette and Odile with Schaufuss as Siegfried. Interestingly, Trinidad Sevillano danced the Pas de Quatre with Leanne Benjamin, Patrick Armand and Maximiliano Guerra and Alexander Grant was the Master of Ceremonies. Happy days !

[Two Pigeons]

I frequently thank the Gods of Dance that I was able to see so much of the Schaufuss years with LFB/ENB. He achieved so much and gave us so many wonderful performances. Even if the productions could be a bit hit and miss at times we saw such wonderful dancers and guest principals.

 

And he made Ashton feel loved and valued towards the end of his life.

 

Thank you, thank you, thank you Mr Schaufuss.

Edited February 19, 2015 by Two Pigeons

[Bruce Wall]

I frequently thank the Gods of Dance that I was able to see so much of the Schaufuss years with LFB/ENB. He achieved so much and gave us so many wonderful performances. Even if the productions could be a bit hit and miss at times we saw such wonderful dancers and guest principals.

 

And he made Ashton feel loved and valued towards the end of his life.

 

Thank you, thank you, thank you Mr Schaufuss.

 

It was a watershed moment for the LFB/ENB company ... much as I think today's regime will be seen historically. 

Edited February 19, 2015 by Bruce Wall

[alison]

I frequently thank the Gods of Dance that I was able to see so much of the Schaufuss years with LFB/ENB. He achieved so much and gave us so many wonderful performances. Even if the productions could be a bit hit and miss at times we saw such wonderful dancers and guest principals.

 

And he made Ashton feel loved and valued towards the end of his life.

 

Thank you, thank you, thank you Mr Schaufuss.

Yes indeed. Would it had stayed that way, really. It was such an exciting time. I was only just getting into ballet at the time, and now wish I'd seen more of the performances from that era, instead of being in my "been there, done that" phase. I was just reading the reviews of the Ballet Arizona "Napoli" and reminiscing about the one performance I ever saw of that - LFB again.

[Fonty]

You reckon?  I think there's a lot of room for ... disimprovement, if there is such a word?  I mean, they could kill Rothbart by pulling his wing off, have a happy ending, have loads of tubby blokes prancing around as courtiers in Act I, Odette standing on pointe on her partner's head ...  This is starting to feel like that game where you construct a person by putting together separate (and disparate) heads/torsos/legs/feet on paper/card.

 

In fact, I feel a new thread coming on: Nightmare Swan Lakes ... 

 

  Yes, there are endless possibilities for Worst Swan Lake Ever. 

 

i have to say I thought the swan costumes in the clip from the Wheeldon German SL were rather unflattering.  Those tutu skirts are massive, and it made the girls look like dancing dandelion clocks.

 

I don't see why a new production has to be so different from the old one as far as the dancing is concerned.  Or is it obligatory for the person staging it to either commission or create large chunks of new choreography? 

[Mary]

Re 'Nightmare' Swan Lakes; how about this idea- a corps of jesters choreographed by Wayne McGregor

 

Only kidding Wayne :-) it could actually be quite dramatic...

[Fonty]

Maybe the scenes with the courtiers could be choreographed by Ashley Page? With a modern, or futuristic setting? 

 

I have seen some pretty pathetic death scenes for Rothbart in the past.  I remember laughing at a description from one writer, who said Rothbart looked as if he had died from "a nasty case of torn sleeve". 

 

And on another occasion, he appeared to suffer death by moulting, which had me stifling the giggles, as all I could think of was the legendary Dying Swan by the Trocks. 

[Mary]

Isn't it Marinksy who do the wing- tearing- off bit? I know, he  ends up looking like a plucked chicken- I think the word is 'bathetic'.

In one production I saw by a small company I swear Rothbart was represented by the same large stuffed owl  who appeared in their Nutcracker, and hobbled about the stage pecking at people.

 

Even in ENB's very nice production there was far too much cloak-swirling- and- flapping from Rothbart for my liking. He was here there and everywhere flapping his cloak for all he was worth, perhaps making up for a lack of wings.

 

 

It's all quite hilarious and yet Swan Lake remains for me, and ever will,  the Sacred Ballet....

[mshovelt]

Yes, the Mariinsky does the "happy" ending, and yes, it is silly. IMHO, there can be only one ending: they both jump in the lake. The most bizarre ending I can remember was in the Bolshoi version (ROH 2013) where, if I remember correctly, Odette is killed by Rothbart and Siegfried is left in despair - have I got that right? I remember being somewhat bemused when I left the theatre...

 

Talking of that Bolshoi version, it did have one redeeming feature: there seemed to be a lot more dancing for Siegfried. Indeed, Grigorovich said in his interview in the programme that he had added additional choreography for the principal male who he thought hadn't had enough to do in previous versions. Anyway, I remember it being quite good.

 

Re. the jester, I can take him or leave him. From what I've seen, the dancing has always been excellent but then I never miss him when he's not there. But don't get me started on the music being stopped immediately on conclusion of the 32nd fouette - if that ever happens to the RB version I will explode ...

[loveclassics]

Oh?  You mean they've dumped the Peter Wright version?

I thought it was the Swedish Royal Ballet who danced the Peter Wright version, the one that starts with the funeral of the old king (presumably Siegfried's grandfather since his mother is called the Princess Mother).  I really enjoyed that, especially the ballroom scene where the princesses are distinguished from each other by the use of the national dances.  Much more logical and even fairy stories should have an internal logic. 

 

Ismene Brown makes the point that the RB version uses the authentic choreography as smuggled out of Russia before the revolution and I can't see much wrong with it.  It's all the trimmings that are mentioned above (drunk tutor, bossy chaperones, Rothbart's mutant zombie followers, etc.) that need removing along with the Hammer horror costumes in Act 3.  And please do something about the lighting - no wonder the designer was once referred to as the Prince of Darkness.

 

Linda

[alison]

I thought it was the Swedish Royal Ballet who danced the Peter Wright version, the one that starts with the funeral of the old king

You're right - I've just looked up the DVD via Amazon: I've always had it imprinted on my brain that it was the Norwegians, for some reason. Was the casting down to a batch of injuries, pregnancies or what? I remember when the Royal Swedish came over to London to dance Don Q and a whole load of their ballerinas were off on maternity leave of one sort or another, but can't remember whether this was another instance of the same or not.

[Fonty]

 I remember when the Royal Swedish came over to London to dance Don Q and a whole load of their ballerinas were off on maternity leave of one sort or another,

 

You mean there is more than one sort of maternity leave? 

[alison]

I think I was probably dividing it into pre-natal and post-natal, or something

[symphonyinc]

I've heard it's meant to be a new production by Liam Scarlett. I hope it's mainly drastic changes in design rather than choreography.

[Barnes2]

Did I really read that someone wanted MacGregor to  be involved. Please God NO. He is incapable of telling stories in Dance. Scarlett sounds a brave decision if true and, for my money, he is better at narrative than Wheeldon.

 

Best of all get Sir Peter to do it, possibly with Scarlett. Why are BRB's productions of all the classics but Giselle so much better than thoe of CGRB? Sir P. W.

[Two Pigeons]

Agreed with knobs on Barnes2. Mind you, BRB used to have Sir Peter's early version until about a decade ago. I for one miss it.

[Ian Macmillan]

From today's Links, Luke Jennings mentions Scarlett as the likely choreographer and gets in his tuppenceworth about what should/should not be in any new RB production:

 

http://www.theguardian.com/stage/2015/mar/22/swan-lake-royal-ballet-review-mcrae-obraztsova?CMP=share_btn_tw 

[Coated]

Re 'Nightmare' Swan Lakes; how about this idea- a corps of jesters choreographed by Wayne McGregor

 

Only kidding Wayne :-) it could actually be quite dramatic...

Only a truly fiendish mind could come up with such an horror

[Fonty]

I hope Scarlett reads both Luke Jennings and this forum. 

 

And if he hasn't, perhaps someone could have a word in his ear. 

[FLOSS]

Once it is official will the Royal Ballet invite comments on their website? I know one thing the Royal will not get away with a virtually invisible Act III this time round.It is probably visible in the stalls and that is all that is probably all that mattered at the time. Everyone who has suffered in silence over the last twenty seven years will not have to do so with the new production.

 

I wonder whether the powers that be have really taken on board the impact that the internet is likely to have if their new offering is not liked let alone loathed as heartily as this one is by some. There are people who claim to not to have seen the current production since the first night they dislike it so much.So it starts to look a bit like a poisoned chalice.There is no pressure on whoever gets asked to mount the new production. None at all.Having nerves of steel and a broad back start to look like the most essential qualifications for the job rather than a compendious knowledge of the choreographic treasures that could be pressed into service. If it is Scarlett who gets the task it will be fascinating to see to what extent someone of his age chooses to embrace the company's traditions and to what extent he feels the need to reject them.

[alison]

"Having nerves of steel and a broad back start to look like the most essential qualifications for the job rather than a compendious knowledge of the choreographic treasures that could be pressed into service."

 

It's rather sounding like it, otherwise why bother getting a choreographer involved at all?  Why not just take all the existing choreography(ies) and sort out something which feels like an organic whole, and then redesign it?

 

What I would really like is a final tableau which *doesn't* leave me thinking of ripped stockings more than anything else.  That would be a good start.

[Fonty]

What I would really like is a final tableau which *doesn't* leave me thinking of ripped stockings more than anything else.  That would be a good start.

 

 

Ripped stockings?  I haven't seen the production for a long time, I am intrigued!

[Sunrise]

Swan Lake has always sold out, in spite of the negative reviews from critics and some fans. Its probably the most critic-proof ballet there is, so I would think if anything it would encourage whoever is staging it, especially if they are young and not as tied to old versions, to be more adventurous and to put their own stamp on it.

 

And in defence of the current production, we don't actually know how well its liked or disliked by audiences. I agree there are aspects of the current production that are problematic (hate the black tights, love the fluffy skirts), but those that loathe it must be in a minority because it has not hurt the box office.

[Jan McNulty]

Judith Mackrell has done a blog piece in The Guardian

[WoodlandGladeFairy]

I went to see the Royal Ballet in Swan Lake on Saturday, seeing the production live was interesting as I'd only ever seen pics and well the blu-ray with Nunez/Soares and while the music and dancing was great I still didn't totally warm to this production, so praise be it will be replaced.

 

Don't get why it has to be grounded in 'reality' its a ballet about wizards and swan maidens, a medieval setting suites it perfectly. Why for instance are there crossbows in a 19th century setting? 

 

Oh and get rid of the maypole as well, too much like La Fille Mal Gardee and just out of place.

 

My wishlist - Bring back the swans in tutus (I think its more aesthetically pleasing), the Siegfried solo, and the Ashton choreography for Act IV 

[billboyd]

I've just watched the ITV 1982 recording....Anthony Dowell and Natalia Makarova....Wow! ...terrific! .... ***** Five stars!

[WoodlandGladeFairy]

I've just watched the ITV 1982 recording....Anthony Dowell and Natalia Makarova....Wow! ...terrific! .... ***** Five stars!

 

Yes I've watched that version many times on tape and later DVD, its just a wonderful performance and the choreography is in tune with the music, its just perfect for me.

[Fonty]

Can we have that version back, please?  Not that I can remember it all that clearly, but I loved it every time I saw it.

 

I still don't know why Dowell felt it was necessary to change it so much.  Yes, I know that he said he was taking it back so that it was closer to the original, but when you have a wonderful production, why bother? 

[FLOSS]

I agree that the choreographic text from the old production was excellent.Act I has real coherence the Ashton Waltz is a choreographic gem and the prince gets a solo at the end of the Act which is more suited to his mood and the rest of the story than the one he has currently.Best of all there is no boorishness among the princes entourage.It comes as a bit of a shock to watch a third act in which every dancer is visible. The secret to visibility is very simple, so simple that I am left wondering why Dowell did not demand that Sonnabend provide one for his production.The secret is a pale floor.I hope that whoever gets the commission to design the new production is handed a copy of this DVD and is told that while no one is expecting a slavish copy their designs must make the action as visible as it was in this production.

 

The only draw back as far as the DVD is concerned was that Markarova did not do mime and I, for one, miss it. At the time her act 2 pas were thought to be far too slow but they were not as slow as is currently fashionable.Today the contrast between the speed at which Odette's music and that of the corps is played is so marked that it borders on the ridiculous. The price we pay for having a Russian conductor or a conductor like Emmanuel Young who indulges the dancers to an inordinate degree.The thing that registers with me is that while this was probably the best cast that the company could muster at the time that this Swan Lake was recorded the subsidiary roles were not all thought to be as strongly cast as they would have been even five years before.

 

The dancing of the pas de trois is interesting because of there is a contrast between Conley and Whitten. The dancing of all three artists in the pas seems more idiomatic,flowing and less effortful than we see now. I do not think that the difference is simply attributable to today's younger dancers feeling the need to impress although that clearly plays a part. I think that it is largely the result of a change in style and training. The cast on the DVD, with the exception of Markarova, had all been exposed to the Cecchetti system and it shows.The Neapolitan dance is danced with real verve and vigour and Taylor was, at the time, seen as as a pale imitation of Collier. Much as Collier and Sleep were regarded as not entirely satisfactory replacements for Alexander Grant and Julia Farron on whom the Neapolitan dance was made. The dancers in these pas and in much else in this recording appear to have a closer relationship with the music than we are used to today.I do not think that it is simply a case of listening to the music rather than counting it is schooling too.This DVD records the performances of dancers who, apart from Markarova, were products of the pre Merle Park, pre Vaganova Royal Ballet School.

 

According to Jonathan Cope and others Cecchetti enables the dancer to fit the steps to the music without slowing it down. None of the dancers on the recording seemed to need the music to be slowed down in order to dance the steps as set. Markarova danced slowly presumably because she thought that it made her dancing more expressive. An idea that was not without its critics then and does not convince everyone now.

 

I think that there was more thought given to casting back then; more casting according to suitability for a role and less concern about giving everyone an opportunity to try a role, sometimes it seems, regardless of suitability. Neither system is entirely satisfactory casting according to suitability is fine as long as the system allows for new dancers to be tried out. It gives younger dancers exemplars to emulate and it can guarantee that the audience sees a set of Fairy Variations performed by dancers best suited to each variation rather than the generally unsatisfactory casting to which we have become accustomed where one or two dancers are reasonably well cast and the rest are best described as approximate.The weakness in the old system is that it can become set in stone.At one time if you knew the Principal casting for Sleeping Beauty or Swan Lake you knew, without looking at the advertised list on the booking leaflet who, barring injury, would dance in the subsidiary pas, for just as there were first, second and third casts of principal dancers there was a similar hierarchy for dancers taking subsidiary roles.Today the only time that you are fairly certain to see the cast that the management regard as the best available is when you see a performance that is being shown in cinemas.

 

I have seen a couple of clips of Ashton ballets recently danced by casts who were steeped in the required style.Not all of them that highly regarded at the time that they were filmed.I am not saying that the casts were bad merely that it was recognised that some of the casts were not as good as earlier casts had been. I think that in each case performances by the same casts today would lead to superlatives being showered on them.The reason? Not I think because the lapse of time has made me less critical but because the choreography and style came to them naturally from their schooling rather than being learnt and only partly internalised for the purposes of a handful of performances. There is a real continuous. flow of movement in the Monotones II with Derman,Deane and Hoskins? which is completely missing from the performance on the recent DVD. The flow of movement transforms the work from what can seem like a rather dry exercise about line to something that is intriguing and beautiful.It has light and shade rather than moving from pose to pose.

 

Only ten days to the announcement of next years programme for ballet and opera, or so I understand.perhaps even if it is not to be unveiled in the 2015-16 season we may find out who has been chosen to stage it and who will design it.Not I hope Anthony Ward who I believe was responsible for destroying Les Rendezvous ,or Mr Bainbridge who did such damage to Daphnis and Chloe or indeed the team responsible for Don Quixote. Perhaps it should be made clear that it is to be set in Medieval Balletland c 1480 and that the sets must indicate time and place and disguise, without distracting the eye from the dance, the fact that each act is performed in an empty box.Not a tall order. Nothing to it at all.

[FLOSS]

Sorry.The "it" referred to in the last paragraph of my latest post is of course the new Swan Lake.

[Fonty]

The dancers in these pas and in much else in this recording appear to have a closer relationship with the music than we are used to today.I do not think that it is simply a case of listening to the music rather than counting it is schooling too.This DVD records the performances of dancers who, apart from Markarova, were products of the pre Merle Park, pre Vaganova Royal Ballet School.

 

According to Jonathan Cope and others Cecchetti enables the dancer to fit the steps to the music without slowing it down. None of the dancers on the recording seemed to need the music to be slowed down in order to dance the steps as set. Markarova danced slowly presumably because she thought that it made her dancing more expressive. An idea that was not without its critics then and does not convince everyone now.

 

Is it really the result of the Cecchetti method?  I hadn't realised.

 

I thought the reason the music was slowed down was to enable dancers to show off their technique i.e. lift the leg higher, do triple pirouettes instead of a single, hold the balances longer, and so on. 

[Ellie]

I think that the Cecchetti method is excellent for developing quick, nimble footwork. The Neapolitan dance is one of my favourite moments from Swan Lake and I particularly like the 1989 version from London Festival Ballet  (it's on youtube - and if anyone could tell me who the dancers are I'd be grateful). For me this performance is so musical, fun and buoyant (perhaps also down to the influence of Schaufuss ?)

[Jan McNulty]

The male dancer is Martin James but I can't put a name to the girl.  

 

I loved Makarova's production of Swan Lake for LFB, especially the Ashton sections - Neapolitan, PdQ and some of Act 4.