JennyTaylor

I indulged myself with the Marianela / Thiago performance last night (2nd time) and loved it. Perhaps this couple can do no wrong in my eyes:  they always seem perfectly matched in dance, particular in dramatic ballets, and last night was no exception.

I find myself drawn to the music more and more.  Not all of it, but there are certain themes which really move me, particularly in Act 3. I found myself looking for any sort of CD or streaming of the music last night, but failed to find the pieces I really love.  Is there really nothing available on line or to buy? BalletCoers help please!!

Today, I played the ROH DVD of the ballet, just to hear the Act 3 music in particular, but of course was drawn to the dancing of the original 1st cast. I really struggle with Ed Watson's interpretation - not the dancing, but the acting. Zenaida is unsurpassed as Paulina though we have seen some really good performances this time round.

Mayara Magri shone again last night.  Her footwork is so sharp and quick. 

Just all so lovely and beautiful curtain calls too. I love to watch all the little interactions in the curtain calls. I know some is rehearsed - but not all.    

I opened this thread on the train home from tonight's performance. Goodness, it made an interesting read. How dull it would be if everyone just said it was all wonderful. 

I'll add now, that I've never liked Ed Watson as Leontes. Far too OTT for me. Much preferred Bennet Gartside, who for me, was more realistic. I saw him at a Ballet Association dinner at the time and he said - Leontes is not mad, he's jealous.   So, I didn't book for last night's cast.  But I did book (both performances) for Marianela and Thiago, and how happy I was tonight!  

Beautifully crafted, emotional performances from them both, culminating in a simply marvellous Act 3 pdd. I really love how the music climaxes in Act 3.  You get little snippets of melody in other acts, but the really moving pieces come in Act 3.  We had Beatrix and Vadim as the young lovers - so all very satisfactory there.  I remember when I saw the original 2 casts,  I felt Vadim was not so effective as Steven McRae simply because he is taller and the choreography was made for Steven, and he did of course, execute it brilliantly, as a smaller, more compact dancer.  I can have no complaints tonight though, Vadim was a joy, (one of my favourites) and his multiple leaps were particularly spectacular.

Mayara Magri shone as the Shepherdess. She is really starting to stand out on stage.  Luca Acri was excellent as the Shepherd's son. Itziar Mendizabel also gave a strong performance as Paulina.

William Bracewell played Polixenes.  Not someone who has come to my attention before, but very impressive.

I agree with other comments on the Forum that Act 2 really could do with a bit of editing. I love the Corps and they were excellent, but there is too much of the same.  All that emotion in Acts 1 and 3, but a bit of a jolly in Act 2.  I know there is supposed to be a contrast - but keeping up some emotional tension a little more would be good.

The curtain calls were delightful, with Marianela pushing Thiago forwards to take a bow on his own.  

31 minutes ago, bridiem said:

 

Seconded! A brilliant performance, the only problem being trying to watch every move and gesture of both Giselle and Albrecht at the same time… I thought that they both danced beautifully, and in Act 1 Hayward really was a Giselle who LOVED dancing – she luxuriated in her movement and filled it with joy. Campbell was an interesting, unusual Albrecht – I got the sense of someone discontented with his ‘real’ life and finding relief in the delightful peasant girl with the laughing eyes; when he realised his duplicity was going to be revealed, he was initially more concerned to protect himself than Giselle, and only when she died did the realisation of what he had done hit him. Hayward moved inexorably from happy flirtatiousness to bewilderment, disbelief and finally desperation and death.

 

I found Act 2 really moving, because I felt that not just Albrecht but also Giselle had changed. She was no longer the blithe young girl of Act 1, or the anguished, betrayed lover; she had grown and matured so that all her focus was on helping Albrecht, on forgiving him, on stepping outside her past pain and (literally) reaching out to him. And he in his turn begged forgiveness, was overcome with the shame and guilt, and knew that in his grief he had found his true self, no longer selfish and discontented but brave and agonisingly clear-sighted. Hayward’s dancing in Act 2 was so light, so quick, so high; and she and Campbell were so well matched physically, technically and in terms of their musical responses.

 

I though Mayara Magri was excellent as Myrtha – strong, powerful and implacable. I loved Fumi Kaneko in the pas de six – such beautiful and expressive dancing. I hope that she gets more and more opportunities. And in Isabella Gasparini I wondered if we were watching a future Giselle.

How true about trying to watch them both at the same time. I wanted to catch every nuance. I was blown away by their Sleeping Beauty which was on such a different plane in terms of emotional range as well as the dancing.I've been looking forward to this with such anticipation as they are my favourite partnership and it still went beyond expectations. I was lucky enough to be in Row C of the Orch Stalls tonight so able to see all their expressions.   Such little things as Alexander's expression change when the 2nd horn echoed in Act 1, and how he managed to go through the range of emotions when his duplicity is discovered which leads to the death of Giselle. As for Francesca, her range is phenomenal for one so relatively inexperienced, both in dance and acting.  She floated across the stage in Act 2, her movement and fluidity is so beautiful.  We are seeing something really special. I feel privileged.    

Francesca Hayward and Alexander Campbell beyond sublime tonight. They have so much chemistry and the drama and dancing was off the scale.  The rest of the cast were superb too. What a night. 

I'm there on the 1st. I'd be very happy to contribute. 

I went to see the Takada / Ella performance last night.  Not a specific choice but because I was going with a friend who can only do Saturdays.  I was interested when I saw Ella had been chosen to replace Steven McRae. It's always good to see new young talent come through. I also was keen to see Akane, who I met at an RB event and was totally charmed by her.

I thought the 1st act was slow to take off. Akane's dancing was superb  but I really had to readjust my ideas to Ben Ella as such a young Albrecht. Nothing wrong with that, but I couldn't feel a depth in his performance initially.  The pas de six was not best executed with the exception of Mayara Magri who shows much promise. It is a fiendish set of dances, and everyone has to cut their teeth!

I was delighted to see Bennett Gartside as Hilarion and Kristen McNally's Berthe because at that point, I felt the cast needed their experience on stage. My overall verdict of Act 1 was underpowered. 

All changed for me in Act 2.  The corps de ballet were superb and the 3 main dancers also excellent.  The scene was set for Giselle to appear and Akane's initial rotations when she first appears were stunning.  Ben Ella then came into his own for me. All his dancing was superb. Clear cut, precise, athletic, stunning and the audience reaction reflected this.  The pdds were equally excellent - Akane appeared to float across the stage.  The emotion was now radiating off the stage. 

A delight - and lovely to see something that was very different from the norm. 

That's the one to see - I can't wait.  SO happy I have a ticket for the 9th

I'll start by saying that I cried today, but that was for slightly different reasons because I took my step granddaughter to the ROH for the first time to see the Nutcracker and she was entranced. Watching her face was entrancing for me too and I found the ballet moving - I love the Hans Peter/ Clara pdd.    But I was also thinking that I first went at the age of 4 (Swan Lake and Beryl Grey) which astonishingly , I do remember - a look how that started a lifetime of loving ballet. Let's hope it's the same for Meg.

Now down to the nitty gritty.  I don't often cry at ballet, but I am moved and my benchmark is the hairs on the back of the neck feeling.

I did cry when I saw Francesca Hayward's debut as Aurora with Alexander Campbell which was phenomenal and incredibly beautiful.  

My Top 10, not necessarily in any order as that's too difficult

Francesca Hayward and Alexander Campbell in the Sleeping Beauty.  

Thiago Soares in Mayerling

Daria Klimentová's final performance as Juliet with Vadim.  Electric - and when he went down on one knee and opened his arms to her in the balcony scene...........

Marianela and Thiago in Onegin

Sylvie Guillem and Jonathan Cope in Manon, Marguerite & Armand

Zenaida and Roberto Bolle in her last Manon

Carlos Acosta in Spartacus

Irek Mukhamedov in Mayerling (last performance)

Thomas Edur and Agnes Oakes in Swan Lake (in the round)

Francesca Hayward and Gary Avis in the Invitation

I feel bad about not including favourites like La Fille and , but they just make me happy, not emotional in the same way.  

I went to the first night and can empathise  with and am also amused by many of the comments already made.  In my view, Marianela sparkled her way through what is a very difficult role and Vadim was beyond marvellous in Act 3.  I'd like to mention Valentino Zucchetti who I thought was brilliant as Eros, in what must be one of the most thankless roles in the repetoire.  He really commanded the stage and his dancing was of very high standard. 

Yes, the story is very silly, but having chosen to attend a performance, you probably need to embrace that, and try to immerse yourself in how it was meant to be in the time it was created. The music of course, is sublime.  

Claire Calvert posted the most beautiful photo of Sylvia's attendants. Hope I can post it as it is in the public domain.  

Hi, I made a fuss when they introduced the new rules as I usually go from work and take my "wheelie" containing my laptop as it is heavy.  I have no option to leave it at work as I work in different locations each day.  But, they do have multiple cloakrooms and it turns out that my wheelie is not a problem. They've actually increased the various cloakrooms since the initial posting on their website.  

On ‎17‎/‎10‎/‎2017 at 15:28, RuthE said:

No Thiago Soares.  Not even as Lescaut...

I'm sad at this - I love his Lescaut. 

On ‎17‎/‎10‎/‎2017 at 14:40, Lizbie1 said:

Ooh, Hayward and Watson!

Yes, they will be brilliant and we also have Campbell as Lescaut.  But would have loved to see Campbell/ Hayward partnership too

On ‎17‎/‎10‎/‎2017 at 17:20, annamk said:

Interesting that the RB feels the need to invite 2 male guest principals ..... Bolle, talent though he was, at 42 is surely past his prime for a role like Des Grieux ? 

Possibly but he and Marianela are a dream team at the moment.  I'll be booking for this one!  .. and remember him with Zenaida.  One of the best Manon performances I have ever seen. 

I'm working my way through all the You Tube material.  However, highlight is the Ooppera & Baletti from Finland.  Bennet Gartside posted it on Facebook.  It's hilarious

On ‎15‎/‎09‎/‎2017 at 14:31, bridiem said:

I think that Sambé is wonderful but I have no idea why he would be chosen ahead of Campbell to partner Hayward in Giselle. Both partnerships have been proved to be very effective; but Campbell is really reaching (or at) the prime of his life as a dancer and both needs and deserves to do the major roles now, whereas Sambé is at a much earlier stage of his career. Ideally I would want both of them to do Albrecht; but to overlook Campbell is just mystifying.

I think it's height - Hayward is the only ballerina Sambé can dance with.  Desperately disappointed - nothing against him but I want to see the best partnerships and Hayward/ Campbell  are IT. 

Don't start me on Alexander Campbell and his partners.  I believe we are being seriously deprived of the Campbell/Hayward stellar partnership. SO disappointed they are not together in Alice now, Giselle later on and also previously, The Dream.

There is no doubt he is a perfect partner for anyone really, but connection is all, and there are some partnerships which have that extra "something" "IT"

I saw Alice last night and he was partnering Akane.  All was fine but no real emotional connection. She danced extremely well and so did he, but.........

I particularly enjoyed Laura Morera as the Red Queen - Rose Adage, was priceless with a very expert cavalier team including Gary Avis, who all played it to perfection.  I do wish they would put more detail in the cast listing in the programme. These 4 were not mentioned. 

Some parts of Alice mean my attention drifts. Love the Cheshire Cat and also really enjoyed James Hay as the White Rabbit.

The audience seemed very happy at the end  

I've reached an age where I believe birthdays should be properly celebrated in this transient life. So when I saw via Marianela's social media posts that she was going to dance in Onegin with Roberto Bolle at La Scala Milan, then I knew, this was the special event I was looking for. What a pairing - a dream, as Marianela herself calls it. 

Setting about achieving this was actually much easier than I anticipated.  I booked a ticket via La Scala's website which has an English portal, and it arrived miraculously, it seemed to me, by post, a few days later.  Then flights and an hotel were easy to get.

Once in Milan,  I oriented myself and visiting the theatre early on the day of the performance,  I was able to book an English tour of the theatre at 4pm. This proved to be a massive bonus.  Not only was the tour extremely interesting in itself, but we also saw the state of the stage at 5pm - 3 hours before the performance, which looked a shambles (I'm sure they all knew what they were doing). As we left they were laying the blocks for the ballet stage and there was no scenery in place at all. When I saw the curtains open at 8pm the transformation was hard to believe. (they did know what they were doing)

La Scala is a beautiful theatre and it was fascinating to compare it to the ROH. It's how the ROH used to be rather than it is now in terms of public areas and layout.  The top tier is not connected to the lower tier and stalls - separate entrances as our guide told us rather grudgingly.   All the Stalls Circle, Grand Tier and Balcony are boxes - nothing else. Good if you go as a group. Not so good if you want a single seat.  There is price differential within the boxes unlike the ROH.  The facilities are limited! 

It's an amazing aesthetic experience to go to a performance. I was in the Stalls at one side, and noticed how much further back I was compared to the ROH.  The orchestra pit extends much further back. The theatre is so beautiful, just being there is a joy - and then there is the ballet.  

To the performance - did it live up to expectations - well a resounding YES.  Do go and look at Marianela and Roberto's social media sites - loads of photos and video clips which I will treasure a memories of a glorious evening.

Comparisons  with the ROH production:

Ballet itself was the same in terms of choreography

Different scenery - which made no difference at all

Different costumes - prettier dresses for the girls

Corps de ballet - I think the ROH had the edge though not much to choose between them

Programme 10 euros but much better

Marianela and Roberto were a dream pairing. I've seen Marianela dance Tatiana on many occasions and she grows into the role more every time. I was curious to see how Roberto addressed a more unsympathetic role - I've always seen him in the romantic ballet roles - and melted - but could he do nasty? The answer is - yes he can.  The scenes in Act 11 where he gives the letter back to Tatiana were almost the most fascinating for me. He played cards with himself with multiple expressions of boredom, don't care, disdain passing through his face. Then after he had returned the letter and Tatiana cried - his expression and gestures for  - "for goodness sake little girl, get over it" was perfect.

The dancing was peerless. I suspect Roberto has lost a little speed in delivery - thought that when he came to partner Zenaida in Marguerite and Armand- but frankly, I don't care. The 2 major pdds (end of Act 1 and final Act 3) sent shivers down my spine and made every £ I had spent in getting to Milan worthwhile.  The audience obviously agreed with me - after the "standard" curtain calls came further appearances, the final one with the house lights up. The cheering and clapping demanded this and the dancers obliged and also seemed overwhelmed.  I was so happy to be able to manoeuvre my way to the front of the stalls and show my appreciation along with everyone else. .... I have never experienced anything like this - except for dancers' final performances, which of course, can't compare. 

Lenski was danced by Timofej Andrijashenko and Larina by Beatrice Carbone. They were at their best in the ball scene in Act 11 but they didn't leave me with an overwhelming impression. Perhaps it was just difficult to look at anyone else than the 2 principals.

Marianela  is proliferating posts on social media about this ballet #dream everything. It is - but of course, she is #dream herself as a dancer, which is what's making the experience. If she wasn't such a wonderful dancer, none of this would have happened.

I went tonight, having followed the rave reviews now since it opened. 

For me, Robbie Fairchild was a revelation. What a dancer!  Stunning, stunning and a total class act. So lucky as this was his last performance.  I couldn't take my eyes off him.

For anyone who likes musicals or dancing, I think this is a must see. Very classy production, great singing, great sets and great dancing with a lot of ballet content. 

Leanne Cope was lovely, more ballerina than all round musical comedy dancer, but that's the part she plays. She has an impressive singing voice too. 

Jane Asher also in the cast. Just looked her up and she is 71. I hope I look that good and move so well, when I reach that age (very unlikely).

I've seen Ed Watson dance this role on several occasions and have always admired.  Last night was my first viewing of this cast, having already seen 3 other performances from other casts.  So, we had 7 Principals on view, which in itself is astonishing in 1 ballet, plus the incomparable Olivia Cowley, Gary Avis and Bennet Gartside.  By default therefore,  it was going to be high class.  As an aside, I'm wondering why this cast was so heavily weighted with Principals. Discuss. As we have seen, each cast brings its own joys and different interpretations, which don't necessarily match up with the dancers "status" in the company. That being said, all dancers definitely lived up to their ratings!     

Having seen Ed before, I'm convinced that it was Osipova who made the ultimate difference here, particularly as we progressed through acts 2 and 3.  The pdds were just something else and Ed's interpretation/passion/ acting changed from anything I had seen before. It was on another level. I feel so lucky to have seen such a performance. 

Everyone else was more than superb but a special mention for Olivia Cowley who replaced Sarah Lamb and gave Larisch her own personal touch. She was bewitching, alluring and also desperate.

An epic.  Such a shame it was not filmed  

If we are playing fair and choosing ballets that would only be in a real triple bill then 

Symphony in C

Marguerite and Armand with Sylvie Guillem, but I suspect Zenaida might blitz that next month

The Dream

not necessarily in that order

If we are selecting an act of any ballet * 3 then that's really difficult

Swan Lake - final act - in the round 

Onegin - final act

Manon - final act

but that could change at any time.  

Mmm, I find the RAH really confusing and it's not my favourite venue by a long way.  I'd actually recommend being closer to the stage than you might normally do, so would recommend the stalls or the loggia boxes.  You won't be looking at the dancers feet as there is no seat which is below the level of the stage as in a normal theatre.  I've seen ballet in the round there on several occasions and if you are in the stalls you are so close you could be staring at them from 3 feet away. So, slightly further back provides a better perspective but don't go too high. 

It can also get very hot in the RAH so be prepared with bottles of water.     

She's just posted on Facebook in response to Charlotte MacMillan's posting of Lynn Seymour and David Wall's final Mayerling pdd. I saw her dance too - must have been in the 1960s or early 1970s. Lovely photo on her FB page. 

Back to the ballet.  2nd performance from the Thiago/ Lauren cast and as ever, it went up a notch (if that's possible) from first time round.  How I love Itziar Mendizabal's Larisch.  She is so feisty and really commands the stage. If we were judging body language then it's 11/10. Every gesture cries allurement and come and get me - and Mary.  Thiago gave another super multi faceted performance. So many emotions, expressions; every gesture means something. It's gripping.  His partnering and pdds with Lauren were superb. I don't think they have danced together too often in the past, so this is a fascinating partnership. The final pdd in Act 3 has now left me breathless twice. They really go for it. It makes you realise how much strength the male dancer needs for this part, having also just performed a searing solo.  

The Tavern scene was so much happier than a previous cast - much more in the Irek mould. I think if you don't get differentiation in Rudolf's demeanour, then there is no contrast when it gets dark.  To play it dark all the way through doesn't provide such an emotional ride for the audience. Thiago has a gleam in his eye in this scene which I love before he descends later in the act. Claire Calvert is an extremely acceptable Mitzi and has an empathy with Thiago which adds depth to the scene.    

I take everyone's point about the female corps parts in this scene and being a feminist, it does grate. However, it's a ballet of it's time and has to be taken as such.  I've been told by dancers how much they enjoy the Manon brothel scenes, so let's hope the same is true of Mayerling.  

Having seen Yuhui Choe as Stephanie twice, I'm still not sure if this is her role, particularly the Act1 pdd. To me, she seemed too controlled in her dancing. I'd be very interested in other opinions. In Act 2 there was superb disdain for the hat. 

The whole cast pulled off a marvellous performance tonight. I always look for Gary Avis (Emperor) and Bennet Gartside (Middleton). We had Ryoichi Hirano as the lead Hungarian Officer - big treat, plus Matthew Ball, Nicol Edmonds, Valentino Zucchetti. Great speed of attack in tavern scene.  Why is Eric Underwood wasted in the role of Count Hoyos??

I've also noticed that the opera singer Catherine Carby appears to be having a whale of a time - flowers every night. That's really nice

On ‎03‎/‎05‎/‎2017 at 09:33, bridiem said:

 

I really hope that's not the case. If people only post when they concur with the majority, we're not really sharing our experiences and opinions as a group - which is the whole point of this forum. I know it can take a certain amount of courage to voice minority views, but it's really valuable and important! I for one very much appreciate it when someone expresses a different viewpoint, and sometimes it makes me review my own opinions.

Completely agree and I thought long and hard about what I wanted to say about the last Rudolph I saw, whose interpretation, given a few more days to think about it, I really didn't like. From a personal perspective, visits being finite, I always book for the particular ballets and casts I want to see, so it's happily rare that I'm not pleased with what I see. If I watch the same dancer in Don Q, for example, I'm ecstatic, so I had to go and see him in Mayerling - it was a must see. 

I vote with my feet on the ballets I don't like, and simply don't book for them. I have my preferences for dancers, so given a choice, I always book for my favourites or a new exciting partnership (Hayward/ Campbell for example, who transformed the Sleeping Beauty for me). Hence, I'm generally positive on these pages. Others may do the same - I don't know, but it could explain the general positivity you mention.

These pages are all about opinions and two people can feel very differently about a performance/ dancer they have just seen. Neither is right or wrong, it's just how it takes them personally on the day.

I hope that helps       

1 hour ago, capybara said:

 

Yes - so nice. Roberta Marquez used to do the same.

 

I still can't quite understand why male dancers are not allowed flowers on stage at the ROH as they are elsewhere. Several of the RB's leading men are often to be seen leaving laden with flowers and they obviously appreciate them. [But I think I'm risking taking this thread off topic!]

I sent Brian Maloney flowers when he retired (this is relevant to Mayerling thread as he was playing Bratfisch). It's the only time I have ever done this but I felt he had had such a journey, he deserved them.  Nothing was presented on stage, but he actually found me on Facebook and said a lovely thank you, which I thought was amazing.  I agree, men should get recognition in the same way as the ballerinas.