Shade

Thanks for all these reports and bravi to all involved in this worthy performance 

😊yes I hardly carry cash these days

Hope it’s a great evening and everyone enjoys. I am sure it will be emotional.

Just seen a tv clip on Chanel 5 with Putrov and Cojocaru

Thanks Clara f for that interesting post

I thought there was definite momentum - not slow at all. Unlike some other occasions (nor RB) I recall.

1 hour ago, Fonty said:

Thanks everyone, I have now printed off my cast sheet and placed it in the file with all the other ones I have gathered over the years.  I am very old fashioned, I do like a paper copy.

 

A few rambly thoughts about last night.  This was the first time I have seen this production.  I stopped going to see Swan Lake years ago, partly because I had seen it so many times, and partly because I felt the music had been slowed down so much in Act 2, it had become positively funereal. Personally, I thought this did no favours at all to the choreography, and sometimes it seemed that Odette looked as though she was too heavy for poor old Siegfried to lift, the pace was so languid.  Last night I felt it was being played a bit quicker, and consequently I enjoyed it much more.

 

Regarding Act 1, we know that Siegfried is unhappy, that is the whole point of the story. There has to be something that emphasises Siegfried's loneliness, yearning for love or whatever, and I just didn't get that this time. I felt he was a marginal figure, moping around while everyone else is having a great time. I disliked the costumes for the ladies, I thought they were rather dreary outfits for a prince's birthday party, and not very flattering.

I hated the idea of making Von Rothbart part of the personnel at court, and the more I saw of him, the more it annoyed me. I know we have had a conversation about reality in fairy tales, but really, this was just plain daft. I kept thinking about the figure in black in Act 3 of Matthew Bourne's Swan Lake, which is done so much better. This fellow stuck out like a sore thumb, striding around in black, looking sinister.  He might just as well have had a sign over his head saying “Evil Magician”.  Way too pantomime for my tastes, and had my practical mind wondering why nobody had noticed he was never around at night.
 

Also, it muddled the story line in Act 3, and a lot of the choreography didn't make sense as a result.  Normally Odile's arrival, accompanied by Von Rothbart, is very dramatic.  This time, it wasn't as spectacular as it should be, she just seemed to flutter in alone.  Did she have a chaperone who presented her?  If she did, it passed me by.  Plus, having made her entrance, why is she interacting with somebody when supposedly they are complete strangers.  Doesn't the prince, or anyone else for that matter, wonder for one moment why the woman he loves seems to be under the influence of the Man in Black, when she has never been to court before.  I know he is a magician, but even so!

I thought the ending, where Odette throws herself into the lake looked a bit rushed and didn't quite fit the music, somehow.  I just didn't feel the build up of tension and despair.  It wasn't the fault of the dancers, so I am not quite sure what the issue was.  Maybe it was my seat position, but I felt the stage was so cluttered with people, I could barely see Odette run off, and even then it wasn't clear she was committing suicide unless you know the story.

I loved Bracewell and Richardson, I thought they were both splendid.  I like Hayward very much as a dancer, but I knew it was a mistake to have watched those clips in the Swan Lake lecture by Macaulay on the other thread.  All the things that he mentioned and highlighted were fresh in my mind, and I was looking for them.  Sadly, I didn't see many of them. For example, the fact that in Act 2 Odette keeps turning to face Von Rothbart's corner and being drawn towards it, just didn't come across.  

This may be the fault of the production, of course, and it really isn't fair to compare someone making their debut in the role with the legend that is Margot Fonteyn.  Suffice to say that I enjoyed Hayward's performance very much, given that it was her first time.  She is a lovely dancer, and I am sure she will continue to grow into the role.

 

On Monday it was very clear that Odette was turning to face Rothbart and his malevolent influence was obvious.

2 hours ago, bangorballetboy said:

 

The score was written for the piece - the composer conducted the first performance (of the Cranko version - Britten was dead by the time MacMillan choreographed his version). 

 

Which major ballet score did you have in mind? 

I was not clear in my post. I meant that it Is not frequently performed. I haven’t seen the RB production only the BRB Bintley production. 

Was the Cranko production the original?

8 minutes ago, Mary said:

The narrative of Prince of the Pagodas is not very compelling - there are rather a lot of longueurs and at times it verges on the daft. The Britten score is often beautiful but it lacks immediate appeal. 

I have watched the DVD many times for the sake of the young Jonathan Cope. but I am not sure it really works overall.

It seems a shame that a major ballet score isn’t used. 

I think amour is danced by a man at all performances- I do prefer the traditional production 

56 minutes ago, Sim said:

My only change here would be Hayward as Nikiya; I can't imagine it somehow.  I am not sure if you were attending last time, JNC, but in that last run Nunez/Osipova swapped roles in the same cast, so one night they were facing up to each other in one role, and in the next performance as the other.  It was fascinating!!  I really liked Yasmine Naghdi's Gamzatti and would love to see her, with her beautiful classicism, as Nikiya.  Am also thinking Mayara Magri as Gamzatti.

 

Having said all this, I am fearful that it might be a while until Bayadere returns, and when/if it does, I hope it isn't butchered to death to satisfy a small but vocal minority. 

That would break my heart. I may boycott in protest were that to happen!

I wonder too if dancers are worried that they will be prevented from travel

Thanks Floss I would very much like to see the Ratmansky swan lake and sleeping beauty.

2 hours ago, emmarose said:

 

I was actually thinking about this the other day.

 

After last Thursday's performance, it was something so magically perfect and felt otherworldly that I think they may have ruined me as anything else, even if it's exceptionally beautiful, will still feel lesser and I'd hate to feel like that. I have some other tickets, at the minute I'm trying to decide. 

 

Damn these crazy talented artists and their gifts! 😉

Well you never know if you will be surprised. That’s the thrill of the live performance. I am always hopeful so go anyway. I think I must have seen more swan lake performances than any other ballet but I can always find time for another one - same with Bayadere.

I am not v tall and I do like the loose seats in the Balcony- can’t always book them though.

Did anyone else who saw Osipova’s earlier performances think that odette’s agony and sorrow were even greater today? 

19 hours ago, Jan McNulty said:

After missing out on three performances I decided to dash up to Sunderland for 2 performances on Friday!!

 

I was so glad I had made the effort.  This really is the sunniest of ballets and uplifts the spirit.  There's nothing subtle about it so you can just sit back and enjoy.

 

On Friday afternoon we were treated to Yaoqian Shang and Max Maslen in the leading roles with Haoliang Feng as Espada.  Yaoqian and Max were so full of joy and flirtatiousness that you couldn't help but grin widely throughout.

 

In the evening we had another vivid and joyful performance from Beatrice Parma and Tzu Chao Chou and I finally caught Alex Yap as a very fine Espada.  

 

This production of Don Q really suits Birmingham Royal Ballet to a tee and definitely plays to their strengths of excellent dancing and brilliant acting.  The whole company has been on superb form, overcoming both Covid crises and injuries.

 

Over the 9 performances I have been lucky to watch I have seen 5 Kitris and 5 Basilios in various permutations of pairings.  They have all brought something to the role and (to paraphrase the late Bruce Forsyth) they were all my favourites!  This was my final performance of the current run and I have said a sad goodbye to the production.  I do hope it has a regular place in the BRB rep.

Thanks jan for your reports. We’re the performances well sold in Sunderland and Birmingham?

I had already picked the poodle as a potential winner. V happy to see flatcoat win and liver is a less popular colour. 
 

border collie was a lovely dog - great movement.

v disappointed with the rough collie best of breed winner- not my type at all. Did think the smooth collie was v smart though.

Would love to see Cinderella and the Dream again

A matinee?

Let’s hope we never are subject to them again!

Thank you Bruce really interesting reading, especially the Forum posts. The posts seem very forthright - today’s style seems quite different!

11 minutes ago, RobR said:

I sometimes despair about the amount of time spent trying to apply logic to a fairy story 🤭

But discussion about the intention that can be implied from the music is worth it I think. I find it interesting anyway

What a night it will be I am sure

Terrific photos Rob thank you.

I hope Ms Osipova recovers soon, what a professional she is.

How was Mr Clarke’s performance?