Lindsay

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2 minutes ago, Fonty said:

 

I think I shall wait until I have seen the Ashton triple bill again.  I couldn't go to the last one, but I have seen some less than excellent performances of some of his ballets over the past few years.

I wouldn't disagree with you there but I thought the casts I saw (although I couldn't see all of them) in the last Ashton bill a very pleasant surprise - particularly Lamb and Muntagirov in Scenes de Ballet and Hayward in Rhapsody.  Would be interested to see Symphonic Variations again, since that is the ballet I remember thinking looked under-rehearsed/un-idiomatic last time I saw it.

I think it's natural when you see a LOT of ballet (as many forumites do - I know I am guilty of this in periods when a work lull coincides with programming I want to see) to get jaded and want novelty all the time.  But also the more you see, the more one can learn to appreciate the difference between "really excellent absolutely at the top of their game" dancing and the kind of "dancers of their generation" performance we saw last night.  For me, Nunez, Muntagirov, Osipova and Hayward (in the right roles because of her amazing acting skills) can all hit those heights

Edit to add:  One thing that I am enjoying about the current period (and like others I have been around since the Dowell days) is that more or less every performance reaches "really excellent absolutely at the top of their game" standards of dancing - which has not always been the case

On tonight’s evidence I think there is simply no option but to give first night to Nunez and Muntagirov.  I think seeing them so often it’s easy to forget quite how lucky we are to have them in London.  Not that other dancers aren’t very exciting and exceptional (I am planning to see several casts and looking forward to all of them) but there is a different level of quality with these two.  In particular, I thought Nunez’ Act 2 Odette variation was quite exquisite tonight - amazing how she is still pushing to improve at this point in her career.  The musicality on the turning sequences was beautiful - because her technique is so secure, she can play with the music and Kessels worked with her perfectly.  
 

And in a lovely gesture she and Vadim turned around to bow to and acknowledge the corps de ballet during the curtain calls.  A great start to the run 

On 01/03/2024 at 08:08, MAB said:

Okay, if this is to turn into 'nominate a foreign star'  If it is not too arrogant a suggestion.

 

Giorgi Potskhishvili

 

 

 

Well he has been in the studios at the ROH today rehearsing with Osipova - photos on both of their instagrams.  I hope this is for something we can see in London!

3 hours ago, Mary said:

 

I did enjoy the November piece, but it is true a lot of dancers could do justice to it, it did not really engage with the classically trained dancer.

 

Whilst I didn’t totally love that piece, I think its strength came from Mayara Magri’s force of personality and stage presence.  I agree with you to the extent that the classical technique required was not so difficult as Twinkle, but I think it required a magnetic presence, even (or especially perhaps) in the slow opening moments, which is something Magri has had in bucketloads ever since her Prix de Lausanne performance.  Other than her, I think the piece might in fact be better performed by non-classically trained dancers to whom the rhythmic, relaxed movements were more familiar - there was a certain rigidity from some dancers that jarred a little for me.  
 

I think Jessica Lang’s decision to play to the strengths of the dancers before her was a wise one and I loved the witty touches in her piece - which I imagine could be an attractive addition to the repertoire for many companies

I totally agree Sim - Hayward is really made for this role.  Her beautiful arms and epaulement in particular struck me tonight and this is a part which really calls for strong acting.  Campbell is such a good actor too and the commitment from all the leads was total - really glad to have seen it.

10 minutes ago, Scheherezade said:

You’re not the only one, Blossom. And I couldn’t agree more about Joby Talbot’s music. 

Thirded on that.  I do think Wheeldon is a better choreographer when he has better music - I love his Polyphonia to Ligeti’s music - way more interesting than the sludgy narrative stuff…

I think I saw Davi Ramos in the Giselle peasant pas de quatre with Het recently.  If he is the dancer I'm thinking of that is an excellent hire for the Australian ballet!

7 hours ago, capybara said:

Controversy warning ⚠️ 

So other dancers spend weeks getting the choreography ‘spot on’ (some of them subject to very ‘picky’ coaching) whereas Osipova can basically come on and do whatever she likes and that’s OK?

well yes, because she is a generational talent who can sell tickets globally.  And “whatever she likes” can often show us these roles in a new creative way (see her Giselle for example).  This is art - not the army - the aim isn’t to create replicants.

32 minutes ago, art_enthusiast said:

 

I didn't see this. I can't agree, I thought she was amazing today.

 

 

Me neither.  Paco, are you referring to the fact that Natalia didn't use her fan on the last diagonal but held it closed above her head instead? That was of course different from the usual step but I don't think it makes it any easier.  And those fouettes didn't look like a display of tiredness from where I was sitting...

Agree with Rob.  That was very secure indeed and stylish for a first go at the Dryad Queen!

Osipova went full comedy Kitri - won’t be for everyone but you can’t say it isn’t exciting.  The steps are so easy for her that she just wanders around the stage being a real-life person and occasionally chucking in some pyrotechnics.  Started the fouettés late, steamed through with mostly triples then strolled off with her hands on her hips. So different from every other ballerina doing it ‘properly’ but I love her!

I think that Sasaki is due a big break.  From what I have seen she has been the strongest of the current soloist crop in the 'difficult' classical roles.  She was outstanding as the SPF and also (in my humble opinion) the best Queen of the Dryads in the recent run.  She has a very clean technique, doesn't seem prone to panic and also brings a lovely musical sense of phrasing.

I imagine that the researchers are thinking of shows like the current Cabaret in the West End (pre-show entertainment,  foyer areas redesigned as a Berlin nightclub, drinks and foods at seat, theatre redesigned so the first few rows of the stalls are replaced with cabaret style tables) and Guys and Dolls at the Bridge (stalls seating taken out so a large part of the audience stands and follows the show around, with NY-style pretzel sellers and so on mingling with the crowd at the interval).  Both of those shows were great fun, performed to a very high standard, the audiences very well behaved and quiet during the actual performances and both have been commercially and artistically successful.  They become a 'novelty event', attract lots of press coverage and casual/occasional theatre goers will buy tickets for the experience.

However, they take a considerable investment to re-do the space "for a specific show" in a style which is appropriate to that show (taking us to 1930s Berlin nightclubs or 1940s Broadway)!!  It is lunacy and ridiculously simplistic to think this idea can cross over into lyric theatres whose raison d'etre (at least thus far) is to run a series of different show in one season.  I would hate to see Coli given over to a year of Swan Lake or Tosca, with whatever decor that might command (although I might have fun thinking about the menu and concessions)

I don't blame artistic and management teams of lyric theatres for trying to think of new ways to spark interest in their shows in a very competitive market (unlike the West End, they can't bring in big TV or film stars to attract crowds).  But I think they have to be realistic about what is achievable in subsidised theatre which can't afford a heavy up front investment for every show and which is reliant on a regular (and quite conservative with a small c) audience.

2 minutes ago, emmarose said:

 

I agree with this, I feel that in the space that she is 'safe' within the role, it also allows her to play, especially with holding things or going for those turns in certain ways. On Instagram (they really shouldn't) there was a few posts from last night, and in the Act 1 Kitri solo, it looked like she had a 'special' moment where she just kept spinning.

The girl sitting next to me in the amphi filmed most of the show last night..

3 hours ago, Paco said:

Absolutely. There are very few venues in the World which benefit from touristic attraction just for the building and its history: La Scala, la Fenice, Sydney, and Garnier (before the Ukranian war the Bolshoi and the Mariinsky were also attractions).

Sadly enough for the ROH, the ROH has never been a touristic attraction. For a tourist looking for entertainment at the end of the day, London is the city of Musicals. I know plenty of friends who are ready to pay a fortune for whatever Musical in London, but just do not know that there is also an opera house in the same district! And this is the case even for melomane. The same friends have of course targeted la Scala as a "must see" during their stay in Milan. But not in London.

This explains to some extent that la Scala is always sold out for ballets (despite stratospheric prices, much worse than ROH), though the company is of lower quality than the Royal Ballet.

The U.K. simply does not have a lyric theatre tradition in the same way as Germany, Italy, Russia or France.  And consequently we don’t have the buildings with the storied history of those arts.

Naghdi is really hitting her prime.  Makes it all look so easy and her frank enjoyment is infectious.  Perfect for this ballet.

Also a very impressive Dryad Queen from Mariko Sasaki - not only impeccable technique but managed to make the (imho sometimes rather dull and repetitive) solo look brand new.  I loved how she started low and really built the opening and her arms were beautifully expressive

6 minutes ago, capybara said:

 

I suppose the way to find out whether or not the ROH is hiring attendees via 'rent-a-crowd' or some such means is to ask people in the apparently empty areas of the house how they came by their tickets and what they paid.

A delicate manoevre, admittedly, but worth a try to assuage our curiosity.

 

I don't think that people are moving into better positions from other areas of the House as the Ushers chased away two couples who tried to occupy the vacant seats next  to me on opening night.

 

 

 

Back in the day (late 90s/early 00s when I was a penniless ballet goer) it used to be via via staff/volunteers word of mouth.  Friends who worked at the House would call around 'on the day' and a posse of those of us with nothing else to do would find ourselves anywhere from the Slips to the Grand Tier (am I right in thinking it was the Vilar Grand Tier before his fall from grace, or was that just the Floral Hall?).  I do know that at least three of us who benefitted from those freebies have 'grown up' into regular paying attendees for opera and ballet, so it may not be the worst way in the world to develop future audiences...

9 minutes ago, capybara said:

 

Oh, how fabulous that you will see Smirnova's Giselle. I am green with envy.

 

I very much take your point about wanting to see "the best" but, even when he was more agile, Bolle has never been in that category for me, I'm afraid. My relatively recent viewings of him suggest that, while he is in remarkable physical shape for someone approaching 50, his forte is partnering rather than dancing.

 

And, in that regard (abroad - in Italy mainly - not in the UK) he is introducing some star RB dancers to a wider audience - Hamilton over many years; Kaneko and Naghdi more recently. That is the kind of 'model' (and positive outcome) which might be replicated at the RB if the pairings had more variety.

 

 

Agree that he has been an excellent ambassador for ballet and I wouldn't see Bolle in 'just anything' these days (and he would frankly never have been my first choice for Petipa in any case).  However, I do think that he is still well suited to Manon - Des Grieux is really not a physically virtuoso role but it does require a degree of sensitive partnering and acting which I don't think 'just anyone' can deliver.

30 minutes ago, capybara said:

 

🤣 I hear you @Lindsey 🤣

 

But did you see him dance Des Grieux in the 2019 run? Have you seen him dance recently in his 'and Friends' galas? 

If we're talking 'gorgeousness' and/or pulling power here, 1) there is an abundance of handsome, talented men in the RB already; and 2) the need to develop and 'big up' members of the home team in the public's perception would take precedence for me.

 

Talking to The London Ballet Circle last night via Zoom, the new AD of ENB, Aaron Watkin, responded to questions about recruiting Principals from outside the company and bringing in star guests by explaining that he would do so (and I paraphrase) only if the presence and experience of an individual (he mentioned Polina Semionova's appearance in Dresden) added to the artistic development of the Company as a whole.

 

I can identify with that view.

Yes, I sympathise with that view and was partly joking.  But I also feel (as someone who, like most here, has watched an unreasonable amount of ballet over the years) that I am more and more drawn to watching dancers at the absolute 'top of their game' whenever I get the opportunity, and for me Bolle is in that category.  A few years ago I would have jumped at the opportunity to watch a debut from an up-and-comer, but with a few exceptions (for example Francesca Hayward's debut in Rhapsody which was an absolute revelation) I find that when you have seen a ballet dozens of times, the most enjoyable performances come from those like Nunez, Muntagirov and Osipova, who can manage the technique in their sleep and have had an opportunity to really develop their interpretation in their 'best' roles and show you why they are considered so 'special'.  I am also off to see Smirnova's Giselle in Amsterdam this week for exactly that reason.

5 minutes ago, capybara said:

 

The other advantage in 'mixing and matching' the pairings is that audience members who might not be familiar with other RB dancers would thereby get to know them, appreciate how good they are too and book specifically for them going forward.

In that respect, the Kaneko/Muntagirov pairing for Manon is great news. But an opportunity is being missed by having a guest (Bolle, who certainly does not need further exposure at the expense of the home team) dancing with Nunez in Manon.

I could NEVER think of a Robert Bolle appearance as an "opportunity missed" capybara!  🤯🤣

2 minutes ago, Missfrankiecat said:

I will be very interested to hear how Anna Rose tackles Kitri.  She is a very precise, elegant dancer.

Me too (can’t make it today but am seeing one of their later shows).  It doesn’t seem to be her ‘natural territory’ in the way that is does for Magri, for example.  However I seem to recall Anna Rose dancing the Don Q PDD in an RBS show in the Linbury and being really struck by the liveliness and personality she injected into her variation.  Very interested to see what she does with the full role.

5 minutes ago, FionaM said:

normal availability is showing for me on the other dates ?

I had the same experience for Fiona last night - was actually looking at booking for one of first two shows and only boxes available. Swathes of seats showing for later shows but I can’t make those dates.  Shambolic 

2 minutes ago, Silke H said:

I would've liked Isabella Gasparini been given the opportunity.  Especially since she just recently danced Kitri in Brazil.  She would have been a good height match for Luca, too.

I agree.  I also hope that Leticia Dias and Mariko Sasaki will get to dance Kitri at some point.

4 hours ago, Dawnstar said:

 

I suddenly wish I could see this cast. I can imagine Hinkis being a good fit as Kitri personality-wise. It's also nice to see a different dancer getting a go at a role rather than dancers already cast doing extra shows, as has been the case for the other Don Q cast changes & as is usually the case for lead cast changes.

I imagine (no offence to Hinkis who management clearly think is ready for the opportunity) it is also a case of having a Kitri short enough for Acri to partner.  It would be very unfair for him to miss his chance because of poor Akane's injury.

Just now, Sim said:

Didn't the ushers do anything about the photography?

They got up to sort out someone who seemed to have inadvertently switched on the torchlight on their phone and was having trouble turning it off.  It looked entirely accidental from where I was sitting.