JennyTaylor

I went to see Campbell/Naghdi this afternoon. Spoilt again with a late Return ticket in Row A of the Orch Stalls, so I had a wonderful view. I'm also finding that I remain distracted and/or beguiled by my close up view of the orchestra. I had no idea there was so much piano in the music!

I thoroughly enjoyed the performance this afternoon in all its aspects, but I didn't find it moved so much as some others, but I can't put my finger on why, because it was lovely. I'm a very big fan of Alexander Campbell so really enjoyed seeing in this role (at last!) and he certainly did it more than justice. I always love Yasmine Naghdi as Juliet and a particular highlight for me was the Balcony scene pdd where they both gave it their all. 

I was impressed with both Joseph Sissons and Leo Dixon as Mercutio and Benvolio. Joe played Mercutio as being very cheeky and really pulled it off, but also managed the serious death scene extremely well.  Leo Dixon's Benvolio was a lovely, friendly young man, who warmed my heart.   The scenes where the 3 friends dance together are some of my favourites and they didn't disappoint. 

Ben Gartside played Tybalt as somewhat dismissive and contemptuous of his rivals but not as overtly unpleasant or arrogant as others in that role. I was impressed with Tom Whitehead as Lord Capulet: a lot of very good acting going on with his eyes. 

For those who like some of the detail.  Yes, Alex played the "meeting at the ball" moment, completely differently to any other Romeos I have seen. So, apparently not noticing Juliet until they actually turn round and face each other.  Sadly Claire Calvert was not Rosaline today: I was really looking forward to seeing that chemistry.  The different approach still works, and there was a lot of interesting acting on the side between the 3 friends and Rosaline, leading up to that moment. 

In the final scene in the crypt, Alex came on to attack Paris from the doorway. I didn't see him come on at all in a cloak and go round the other side by the stairs. I was looking all over for him in the shadows, but nothing.     

I felt the audience response was a bit muted today throughout, but that might have been my imagination. The cast received lots of applause at the end though.  I came away happy.  

Leanne Benjamin's new book "Built for Ballet" is brilliant. Loving the detail and insights. 

I've just returned from an R&J rehearsal which featured Alexander Campbell and Yasmine Naghdi and I think we can expect the casting to be "flexible" as it was with the Nutcracker post Christmas. The rehearsal was a working one with only the principals in costume and everyone else in practice clothes and also masks. It gave a tremendous insight into how challenging it must be to prepare for a show in these circumstances. 

In terms of casting - and there is of course, no guarantee that anyone but the 2 Principals will be scheduled on Wednesday - but Mercutio was one of the more junior dancers who is being given a chance as David Yudes is having to self isolate. I won't say who it is in case it doesn't happen in this uncertain world.  It looked like Leo Dixon as Benvolio though as we were in the Balcony and they were wearing masks, I can't say for certain.  Ben Gartside was Tybalt and Tom Whitehead was Lord Capulet.  I'm afraid I couldn't identify the 3 harlots. 

Anyway, I'm delighted that I have just picked up a Return ticket for Saturday so will be going to see it in performance then.  I'm really looking forward to seeing Alex in particular.   

1 minute ago, Rob S said:

I saw William Bracewell sitting at a table in the foyer for the whole of the matinee interval....only saw one gentleman come up and talk to him and the woman he was sat with

Now, I'm really jealous!

12 minutes ago, art_enthusiast said:

 

Wow! I'm surprised no one else noticed them. Are dancers often seen in the shop?
Amazing recount of the final performance

I've never seen any before except for official signings. There is a door from which artists can exit the ROH on the extreme left as you enter the shop, which can make for interesting sightings if you are lucky though. 

Onto this evening's performance where I was totally spoiled by a seat in Row A of the Orch Stalls which I picked up as a Return.  This was my first venture out post Omicron scares and I think I only nerved myself as I did have a seat with no one in front of me and it was also on the end of the row. It was marvellous and what I particularly noticed was how I could hear the orchestra astonishingly so much better than even a few rows back.... and I could see them which I also really enjoyed. 

As soon as the overture started, I was misty eyed; by the end of Act 1, tears were rolling down my cheeks, so moved was I by the beauty of the music, the ballet and sheer emotional experience. I suppose the Nutcracker, always has connotations with my childhood,  and I can't believe there was a time when I began to think it was boring. These days, the very challenging times we live in, seem to make every live ballet performance I see extra precious.  

Kevin O'Hare came out at the start with quite a heartfelt speech where he explained about the technical issues, celebrated that all advertised Principals were actually dancing and thanked everyone for all their efforts in putting on the show tonight. He also thanked the audience for supporting them. Then we had the wonderful Gary Avis as Drosselmeyer setting the scene for the glitter fest which was tonight's show as a positive shower fell out of his hat as he picked it up.  

Sae Maeda and David Yudes were very refreshing as Clara and the Nutcracker. All the party scenes were played to the hilt by all the dancers. My particular favourites were Hannah Grennell as the Grandmother, who manages to add a great deal of humour to the part and Olivia Cowley as the dance mistress. I did wonder if Christopher Saunders had to make a detour across the stage at one point to check on what the children were doing when playing with the dolls. It was certainly quite lively over in that corner of the stage. 

The tree was fully grown from the start, but I expected that. The transformation scene still worked for me, as the music is so wonderful that it carried me anyway. Other scenery still moved so there was movement and that helped. I found I didn't really care too much even though it is one of my favourite scenes when it works fully.  The Clara/ Nutcracker PDD always moves me massively, hence I was a bit of a wreck by the end of Act 1 (in a nice way). 

Act 2 brought William Bracewell and Laura Morera to the stage, so what more could one hope for.  Glorious dancing from them was celebrated by prolonged audience applause. I thought Will looked rather serious and fully concentrated with only intermittent smiles while Laura was smiling throughout. They were both very happy at the end though! 

David Donnelly worried me in the Arabian dance as he appeared to be finding all the lifts a big effort. One could see his arms shaking with the effort with every lift. Hannah Grennell danced very gracefully but I was worried for her. Thankfully, all went well. 

Leticia Dias made a lovely Rose Fairy. I too noticed Melissa Hamilton as she stood out, as did Leo Dixon who now has a tremendous stage presence. 

At the final curtain and bows, all the soloists came and threw glitter. What a wonderful end to the Nutcracker run, which has delivered so many such fantastic shows under really difficult circumstances. 

Finally, when I first arrived at the ROH, I was browsing in the shop when I saw Matthew Ball and Mayara Magri there, looking at the ballet CDs.  I didn't approach them as that doesn't seem right in these Covid times, I just enjoyed seeing them.  No-one else appeared to notice them at all.  Just an added highlight for my day though.    

38 minutes ago, bridiem said:

 

Have you tried clearing the cache (and then restarting the PC/laptop)? I think that's what put things right for me last month whereas just clearing cookies had no effect.

You could also try using a different browser - and BTW, the ROH website is technically dreadful, so don't necessarily blame yourself. 

What an absolutely marvellous evening.  As soon as I saw the cast change, I haunted the ROH website to get a late ticket to see this pairing.  I've always loved Laura Morera  and thought this partnership with Bonelli would be perfect. So it proved. and I was very happy with Row C of Orch Stalls where I had a wonderful view. 

All things seemed to come together this evening. Stunningly good from everyone. I'm so pleased I've seen the multiple entrechats. Actually I loved them and they went so well with the music. The tempi seemed to have increased this evening, so much so, I looked to see if it was the same conductor (it was). 

For the first time in all the wonderful Giselle's I've seen this time round, I shed a tear at the end as the curtain closed. Absolutely perfect. 

Lovely to see all the flowers for Laura's 25th celebration and the flowers for all the wonderful corps too.  Such a well deserved ovation for a beautiful ballerina   

So, overcoming my disappointment at not seeing James Hay (which I knew in advance) and Gary Avis (which I didn't) I prepared to make the best of this performance. Of course, we did still have the supreme pairing of Marianela and Vadim which is worth the ticket money on its own and they certainly didn't disappoint, producing another faultless rendition of pdds and solos. One has to glory in their precision, grace and fabulous technique. The applause level suddenly doubled in decibels in appreciation of this wonderful partnership. 

Act 1 left me a little cold, from the minute there was no glitter in Drosselmeyer's hat. It might be a Gary Avis hallmark, but there is no reason why others can't copy it.  I found myself watching the minor characters at the party rather than the main action. I always like to do this (Manon for example), but this didn't happen when I saw this cast last week and Drosselmeyer (Avis) was mesmerising me. 

I very much enjoyed Bennet Gartside's Dr Stahlbaum and Leo Dixon certainly catches the eye as Clara's partner. The most beguiling character was Hannah Grennell's Grandmother.  She travelled round the back of the stage at least twice and I watched her fascinated. Was she trying to get another drink, was she just after a chat with other party attendees (all in character)?  She was always back at Grandfather's side at the right moments. Very amusing.  There was another amusing moment when Christopher Saunders accidentally knocked Grandfather's hat of his head. He threw it back all in character and Philip Mosley did appear to be having a laughing fit as a result. 

The Christmas tree grew with no hitches, the pdd between Anna-Rose and Joseph was lovely but I didn't cry as I did last week at both these moments. Christopher Saunders gave a very energetic performance, but there is something about the magic which Gary Avis weaves that brings a heightened emotion to everything. For me, this was missing. 

I still thoroughly enjoyed the show, for which Marianela and Vadim were primarily responsible. What a privilege it is to see them perform at this level. All the Act 2 dances were performed exceptionally well - how does Melissa Hamilton do that?? (Chinese dance) but the total impact was just a little lacking for me.   

1 hour ago, bridiem said:

The cast sheet for tonight is up: https://www.roh.org.uk/tickets-and-events/the-nutcracker-by-peter-wright/cast-list/48978

 

I'm very upset that Gary Avis is not doing Drosselmeyer. I hope he will soon be recovered (but I haven't booked another performance with him in it. )

Yes, this performance is now missing 2 of the dancers I particularly booked to see - Gary and James Hay.  We still have the sublime Marianela and Vadim of course, plus a bonus of Will Bracewell, but I fear the glitter will not be quite the same. 

I think a big shout out should go to the many dancers who are performing 2 shows a day and sometimes 2 different roles in each. For example, Hannah Grennell played 2 grandmothers and 2 lead flowers on Thursday. Olivia Cowley is working her socks off as is Gina Storm-Jensen.  I do hope they are getting some recovery time.

I must admit that I thought about Ed Watson after I watched Will Bracewell in Hamlet, but now I can also empathise with the Anthony Dowell comment. I’m also so pleased that it’s not just me who sees special qualities because I question myself all the time as to whether or not, I am just going starry eyed. That’s also the case because I find it very difficult to describe what I find special about him every time I see him perform. What I do know is that the first time I saw him perform was as Siegfried in Swan Lake and I came with no preconceptions. I was just interested in seeing a new up and coming dancer perform a major role. From the moment he saluted ironically to Von Rothbart my attention was caught and subsequently 
I was lost. Yet he is not showy, there appears to be no ego: he is just the most beautiful dancer who also has the gift of being able to characterise each role he plays uniquely. He also appears to be able to build wonderful rapport with his ballerinas. 
 

I will shut up now.

23 hours ago, capybara said:

Not enough ‘slots’. Principals are only getting two each this time.

So much talent at the top.

 

Actually, as a Bracewell admirer, I found his dancing in Nutcracker a treat but he didn’t seem to be wearing an appropriate ‘performance face’. He seemed to have a bit of a scowl on from where I was sitting.

I'm happy to report that he was wearing an appropriate performance face today. All is well with the world. 

Well, I thought I wasn't ready for the Nutcracker, being completely zoned in on Giselle, but from the moment tears started welling at the opening bars of the overture, I was lost.  What an exquisite performance this afternoon from all the dancers. What a joy, crowned by a 95th birthday celebration at the end for Sir Peter Wright.  Yes, I do hope there are some photos.  

I can only heap praise on all the principals who gave immaculate performances. Tears came again in Act 1 when the tree grew and also with the Hans-Peter / Clara pdd.  The glorious music plays such a part in this emotional experience in addition to what's happening on stage.  

Gary Avis, his cloak and his glitter commanded the stage. It must be exhausting to play that part!  So much energy goes into it plus there are so many times when physical objects can go wrong.  Marianela and Vadim - perfection in the technically demanding dancing and Anna-Rose and Joe Sissens very much a couple now.

Wonderful

My comments on last night are: 

Francesca Hayward and Alexander Campbell on a completely plane from other partnerships I have seen so far. I've decided it's not actually sensible to try to compare them all, but to take each on their own merits, because they are so different.  

For me, this was perhaps a more traditional rendering of the ballet.  It was very beautiful and the story unfolded quite slowly from Albrecht's perspective. Alex was aloof from the peasants and almost appeared to be a spectator to the festivities except when Giselle was involved. He was arrogant and dismissive, in love with Giselle and then at first dismissive of the fuss until he realised the consequences and the implications. 

Always so happy to be close to the stage and able to see all the expressions on the faces of the dancers. Francesca Hayward's face displayed so many emotions and told such a story, it was a joy to observe. Her dancing is of course, incomparable. 

The pas de six was a vast improvement on several previous attempts with Mariko Sasaki, Joonhyuk Jun, Mica Bradbury, David Donnelly, Leticia Dias and Harry Churches . The lead couple shone - what potential they have! I also spotted Kristen McNally giving them delighted smiles as they completed their  solos and exited the stage right next to where she was sitting.  It reminded me of Genesia Rosato in the same scenario a few years ago, giving a young male dancer a sympathetic pat, when his part has gone rather horribly wrong. 

I was rather side tracked by Bennett Gartside's Duke of Courland,  partly because he looked so like Henry VIII but also because his acting was really good and I enjoyed observing his reactions to the unfolding plot.  If looks could kill, then Albrecht would have been dead long before Act 2 and we would have had a very short ballet. 

So glad we didn't because Act 2 was sublime in every way.  The dancing of the corps was immaculate and forever spine tingling.  Olivia Cowley transports me every time as she is so elegant and graceful.  Mayara Magri has definitely become more imperious as she grows into the role of Myrthe.  Francesca and Alex are such a powerful partnership together. Their bodies match so well and they have a connection which leads them to dance as one person.  As for the lifts, the first one was not held at all and the second one, briefly, but nothing like as long as in other performances I have seen. I just didn't want it to end.

Kevin Emerton as Hilarion was fine, but is not yet as strong as Luca Acri or Lucas BB.  Luca practically burned up the stage on Saturday in Act 1.  Plenty of time to grow into the role though. 

Mayara Magri is Myrtha and the pas de six is Mariko Sasaki, Joonhyuk Jun, Mica Bradbury, David Donnelly, Leticia Dias, Harry Churches

an interesting combination, I feel. 

I'm here to see the wonderful Alexander Campbell and Francesca Hayward and will of course, be taking particular note of the lifts. Gosh, what a fascinating thread that has been. Thanks to all who contributed as I certainly learned a lot! 

Wonderful performance from Yasmine Naghdi and Matthew Ball tonight. Many layered; so beautiful dancing, deep characterisation and acting.  What a pairing they are!  I found so much to enjoy.

I was looking forward to seeing Matthew's "caddish" Albrecht and caddish is exactly the right adjective. So different from Vadim's elegant aristocrat and more interesting in my eyes in terms of added value characterisation. I found myself thinking - I've seen this ballet so many times, but there is always something different to look out for - and that's the joy. His dancing in Act 2 was very impressive and his ability to enhance this with acting out the story, made the impact even more powerful.   

Talking about that, Gary Avis's gem of a Duke of Courland completely side tracked me!  So much to see: the roll of the eyes, the lift of an eyebrow, the - let's get on with the hunting, is she really asking Giselle to dance.... how it added to my enjoyment. 

Marianela Nunez as Myrtha - the most commanding Myrtha I have seen so far, with such clear commands to her Willis and to Albrecht and Hilarion.  Superb dancing technique (of course) for the most difficult sequences. 

Top class performances again from Olivia Cowley and Melissa Hamilton (dream team) as Moyna and Zulme. 

I also loved Harry Churches' Wilfred - very kow-towing to his master.. More really good acting. 

The corps de ballet  - out of this world again. Spine tingling stuff. 

The only "even better if" was the pas de six which for me, lacked impact and spark.  

Finally - Yasmine's Giselle. Absolutely superb in every aspect. I have no other words. As an emotional experience, this performance will take some beating. 

I would add that the Corps de Ballet were again superb in Act 2 and received extremely well deserved applause and cheers. 

Ah, the joy of tonight's performance. Vadim and Marianela dancing perfection. Struggling to say anything that hasn't been said before about them. 

Ah, the joy of the Pas de Six with Will Bracewell and Melissa Hamilton leading. How does Will Bracewell manage to light up the entire stage just by entering from stage left and inviting Berthe and the corps on stage to dance? I don't know, but he does. 

This is the 3rd time I have seen this cast and they just grow and grow into roles.  Lucas BB once again shone as Hilarion and is extremely good value in Act 2 as he is danced to death. I have seen several Hilarion's whose steps move into the tiredness zone very quickly. But no, he keeps going right to the end. 

Finally, does the wooden bench on stage left win the prize for the most moved piece of furniture in a ballet?    

4 minutes ago, oncnp said:

 

Saw  this as well. Getting a little anxious about Thursday now. 

Nothing on the ROH webiste - checked that too

I've just seen photos posted on Instagram of Marianela Nunez and Roberto Bolle rehearsing at the ROH.  Dying to know for what purpose. I had a look at La Scala's website and no clue there, but I did note that he is due to dance Onegin in September 2022. 

2 hours ago, capybara said:

I get that, and I like the entrechats (who wouldn’t?) but, in Peter Wright’s version, Albrecht doesn’t stop dancing, he proceeds to other energetic stuff before falling to the floor.

I stayed in the story last night whereas I can find myself switching into counting mode with the entrechats and then disputing the number 🤭

 

 

 

I'm with you here. Having read this thread beforehand, I deliberately stopped myself counting because it was totally distracting. Much better to stay in the moment of the story and just enjoy Vadim's superb entrechats, regardless of how many there were. 

I was lucky enough to see this cast (well nearly the same) in rehearsal and although I already had a ticket for their 2nd performance, seeing Marianela and Vadim at last in a full length ballet after such a COVID dearth,  proved too much me, so I spent a lot of time refreshing the ROH website until I found a ticket for this evening.  Gosh, was it worth it.  What a sublime performance from these two: they have such empathy together and the standard of their dancing was simply world class.  Marianela literally seemed to float through Act 2, and of course Vadim produced his best in his many solos: technically superb.  The corps too, were excellent and received roars of appreciation from the very enthusiastic audience, this evening.  Such powerful group dancing. 

I loved everything really.  Lukas BB was even more impressive as Hilarion, the pas de six was a delight and the orchestral music swept me away.  A special word for Olivia Cowley, who stopped Vadim in his tracks with the most severe look and gesture I have ever seen.  

2 hours ago, maryrosesatonapin said:

I couldn't agree more.  Ballet is a visual art and ideally dancers should be pleasing to look at even when they aren't dancing (although of course their artistic abilities are the most important thing).  I've always thought Lukas BB was beautiful even as a teenager but actually didn't like the beard, except that it helped in his characterisation of course!  However one could always feast one's eyes on Reece Clarke....

I saw Lucas BB in rehearsal and thought how interesting it was to have a Hilarion who was both young and handsome (not always the case, and sorry if this is non PC). In addition, Lucas both acted and danced beautifully.   This made the choice Giselle has to make, much more complex. In the rehearsal, she had to choose between an imperious Vadim and a more rustic Lucas. Now both Vadim and Lucas are pleasing to the eye in my opinion, so it made for a greater dilemma and more pathos, than might always be the case.  (Feel like I am treading on hot coals even writing this) but it did cross my mind during the performance, not as a result of this thread.  The lady sitting next to me, who I didn't know, also commented to me on Lucas, which led to a lovely discussion between us in the interval.    

Thank you for highlighting - now watching.  Rehearsal a complete delight and very emotional to see Marianela and Vadim together in a dramatic ballet after such a long time.