balletyas

20 minutes ago, Scheherezade said:

I haven’t seen Yasmine and Matthew’s earlier performances so can’t give comparisons here’s what I thought of last night (theatre not cinema).

 

First off, to negate the negatives, I didn’t find Yasmine chilly and nor was I underwhelmed by Matthew.

 

Having seen Sarah Lamb the other night - someone I used to find chilly but didn’t on Saturday - they were very different. Sarah’s was an Odette whose vulnerability carried a discernible hope that the enchantment could be broken; Yasmine’s was a heavy-hearted Odette who seemed to know her fate from the start.
 

Yasmine was, of course, technically sublime and beyond that, I did feel that her dancing conveyed the overarching sadness of her Odette. Yes, Matthew’s passion gave her a temporary respite, a glimmer of hope broke through, but deep down she always knew that it couldn’t last. 

So on to Matthew, whose performance, for me, had all the dramatic heft that we have come to expect from him, and apart from the slight slip that has been mentioned in earlier posts I couldn’t find anything to criticise technically either. A heartbreaking, totally convincing Siegfried, who made total sense of all the inbuilt negatives in that particular role.
 

Staying with technique, I agree that Joonhyuk Jun made a spectacular impression as Benno but would add a caveat since I do feel that at present he lacks the skill to add characterisation to his virtuosity. Someone commented above that he is very joyful and indeed he is but that joyousness is where, for me, his Benno falls down. He is still young and his portrayal will obviously develop over time but at present it is too one dimensional to convince, particularly when pitched against Matthew’s dramatic skills.

 

And again, a big shout out for the wonderful corps. And for the four cygnets. I did not find them heavy in any sense last night. 

 

I so agree with that analysis of Yasmine’s Odette - she was deeply sad and knew she was doomed - and that underpinned it all. Likewise think Matthew was convincing, truthful and so direct in conveying his feelings to her and did in fact dance particularly beautifully after the ‘slip’ . 
 

And yes although I thoughJun’s  jumps even more remarkable than I remember then, I didn’t feel his overall technique held up against the others and more importantly perhaps his characterisation wasn’t yet there - as you say he is very young and inexperienced and will get better and better. 
 

Just now, JNC said:

I can’t answer your question but I very much agree with this.

 

On opening night there was almost a mini “curtain call” (no curtain) for Marianela and Vadim after the act 2 pas de deux. Deserved but it totally broke the spell of the plot for me and yes felt “untraditional” to ROH - in as I see this more from Russian companies but it didn’t really happen much at ROH previously? I suppose they are only responding to fans but I do wish they wouldn’t do it at certain points.

 

It maybe doesn’t make sense but I have less of an issue with it in Act 3, as there it’s almost a performance within the plot for the court, so a little bow to the applause doesn’t detract from the plot here for me as it’s like they are showing off and bowing to the audience *in the plot* (I.e. courtiers watching them). Similarly I don’t mind the bows in the sleeping beauty pas de deux finale or even after auroura’s act 1 solo as they both in plot audiences at those points. But I would be annoyed at Manon and Des Grieux taking a bow after their bedroom pas de deux! 

Yes absolutely right - if it fits  the narrative then fine, but after what is a deeply private and intense moment in the story, like the act 2 pdd,  it is so jarring and must undermine the dancer’s own engagement with their character. It doesn’t happen in theatre so I don’t think it should happen in ballet.

31 minutes ago, Legseleven said:

Blown away by the cinema relay performance, especially Naghdi. I was thinking as I left that her technical ability, as with that of Nunez, allows me to relax and watch her performance without feeling anxious that a technical slip may derail things a little. I never ‘catch her acting’, as I can feel with other performers, actors as well as dancers - she becomes the characters she portrays for me. I prefer that lack of ‘showiness’ - her Act 4 tonight was goosebumps-inducing. And her musicality is on another level. 
 

I quite agree that Naghdi is the safest pair of hands  besides Nunez and that makes it so easy to watch her.   And yes - she does ‘become’ her characters and I’m beginning to think that’s why her Odette tonight was on the chilly side -  I think what we were seeing was someone who darent let herself show her feelings too much, in case it might all crumble, as indeed it does.  In fact once she knew she was doomed I felt she let herself go completely and felt her utter resignation very strongly.  It takes a great artist to be selective in what they show us.  

1 minute ago, MildConcern said:

I was so enamoured by Naghdi and Ball’s debuts in R&J in 2015, but I’m afraid I’ve never felt that way about her again. About Ball, certainly (his Rudolf and Beliaev among others). But as much as I admire her technique, I have never found Naghdi heartrending other than that first R&J outing. There is something very calculated about her presentation that is a barrier to my emotional enjoyment, and I’m afraid that came across to me strongly this evening.

 

I have Hayward, Kaneko and Sasaki to come still. Aside from Kaneko, I’m not sure the others will be able to match Naghdi on technical prowess. But I am more hopeful I will be able to be emotionally invested in the story. 

I wonder if you’ve ever seen her Giselle? That, for me, was the moment I saw her vulnerability and I have seen that ever since although I think less so tonight… 

Finally saw it tonight and other than a tiny slip in Act3 I actually thought Matty was superb tonight. His acting was consistent and committed and he was deeply responsive to the music. As was Yasmine who I thought was technically utterly sublime - and always in character.  I wanted to love her odette as much as I did last run but I somehow felt her more as Odile, (dazzling, gorgeous,creamy) until Act 4 when I think she and Matty reached another level. They and the entire corps were just perfection. 

that balance in act 3 / wow - as Sim said she could’ve had a drink and maybe even a smoke, she held it so long.  That and the incredible trembling Odette foot (what is that called?) will stay with me for a very long time. 

I do hate the constant stopping for applause which wrecks the moment for me - is this happening more here at the ROH or just in this production? 

so many more thoughts but ghastly train requires my attention… more anon 

3 minutes ago, balletyas said:

 

I don’t know how this happened but I wrote something about the applause after the big moment thing and it’s been attributed to Lindsey. I’m very sorry but I don’t know how to sort it out? Moderators? 

On 18/04/2024 at 13:32, Lindsay said:

1 hour ago, Silke H said:

Wowza! 
2 words: Yasmine Naghdi

🤩

I finally saw it tonight and other than a tiny slip in Act3 I actually thought Matty was superb tonight. His acting was consistent and committed and he was deeply responsive to the music. As was Yasmine who I thought was technically utterly sublime - and always in character.  I wanted to love her odette as much as I did last run but I somehow felt her more as Odile, (dazzling, gorgeous,creamy) until Act 4 when I think she and Matty reached another level. They and the entire corps were just perfection. 

that balance in act 3 / wow - as Sim said she could’ve had a drink and maybe even a smoke, she held it so long.  That and the incredible trembling Odette foot (what is that called?) will stay with me for a very long time. 
 

so any more thoughts but ghastly train requires my attention… more anon 
 

On 18/04/2024 at 13:32, Lindsay said:

I do hate the stopping for applause after all the big moments - this seems very unusual for the ROH, am I right? it really wrecked the moment after the Act 1 Pdd / which was utterly beautiful. 

Sadly can’t attend the General on Weds 20th at 11:30.  I ticket available. DM me if interested.  
 

3 hours ago, Anne PD said:

One ticket available - now sadly can't attend

Yes please I’d like to buy it from you. Please DM me your bank details and email address and then you can send me the ticket. Many thanks. 

3 hours ago, Anne PD said:

One ticket available - now sadly can't attend

Not sure if I replied correctly to this - can you hold the ticket for 30 mins while u check something? 

Could you hold this for me for half an hour while I check something? 

26 minutes ago, capybara said:

The leading dancer roster will surely be very different in 3 to 4 years time with the following likely to feature when Manon returns (alphabetical order):

Hayward

Kaneko

Magri

Naghdi

O'Sullivan

Takada

Ball

Bracewell

Clarke

Corrales

Muntagirov

(Richardson)

Sambe

(Sissens)

 

This smaller number (there could be other emerging talent of course) would enable each couple to have 3 shows, which is what everyone (dancers as well as audience) seems to favour. It might seem harsh but the  'missing names' have had many opportunities to take the leading roles over the years. Time for the current late 20s/30-somethings to be put firmly in the limelight - and not only in Manon. 

 

 

 

Absolutely agree with you on this… 

38 minutes ago, cjp said:

I saw Yasmine dance Mary Vetsera to both Vadim Muntagirov and Matthew Ball's Rudolfs during Mayerling last season and had wondered the same then, but she pretty convincingly demonstrated, to me anyway, that she could handle the more morally ambivalent/'minxy' characters, with as much conviction as she does the more conventional heroines and classical roles.  Her pas de deux with both partners were just electrifying and I found her characterisation intelligent, thought-provoking and nuanced, just as with her Manon.

 

I wish I had been able to see Yasmine dance last night, as I loved her (and Willliam's) debut performances on 20th January and remember how compelling I found the Act II brothel scene.  It felt to me that she absolutely owned the stage, not just in her own variation but the later dancing with the ensemble of men - such an effective moment in the ballet, conveying so much and one of those moments of genius from MacMillan in this ballet. 

 

I agree with you re Leo Dixon, who is always eye-catching and it always seems to me that his enjoyment in dancing shines through, whatever he is doing on stage. He was very good in the performance on the 20th, in fact all 3 'dancing gentlemen' were terrific and very well synchronised, the other two being Harry Churches and Joonhyuk Jun. If Leo is ever given a Lescaut, or one day Des Grieux, I hope I'll be able to see it.

 

Then the rest of the cast, from Luca Acri's rascally, amusingly drunk but ultimately tragic Lescaut, Anna-Rose O'Sullivan's comedic flair and beautiful dancing as his mistress, Gary Avis's gaoler (absolutely chilling, my goodness..) the list could go on ..the entire cast was brilliant, as usual.  So rich and layered, a story being told wherever you looked.  Just wish all the casts could be filmed and streamed, if only to fully appreciate all the details ...I can dream!

 

 

Ah yes I had to miss Yasmine’s Mary Vetsera for some reason and of course that would have been a good trial run  for Manon - so glad she pulled it off. Rather wonderful seeing such a controlled and poised dancer throw the shackles off - my admiration of her grows with every performance.  
 

Quite agree re Dixon - i feel he could be a wonderful ardent DG but not sure he is physically strong enough yet but hopefully that will come in time..

15 minutes ago, DoctorDerry said:

I am not often lost for words but last nights Manon has almost achieved that As we left the Royal Opera House my husband, who is not really a fan, said ‘ that is simply the best ballet performance I have ever seen ‘

I completely agree, and that follows my history with Manon,I have never really liked it ,despite the wonderful choreography, successive viewings have never changed my personal view of the ballet as a whole.

This time I had a whole new vision of how this story evolved. It began for me with that amazing lyrical solo from Will Bracewell, his elegant lines and stillness told us about this young man on his way to a seminary having a Damascene moment. Seeing Manon, loving her before he knew her, and knowing his life was changed for ever for good or ill

I was so convinced by Yasmine’s Manon, discovering she was desirable and revelling in this new power she had, having previously been powerless.

Then again I was blown away by Luca Acri’s Lescaut, first rate, nasty , manipulative, a bully,but a man who loved his sister enough to die for her. Great interpretation and dancing.

The performance just got better and better .Phenomenal pas de deux.The spin lifts ,the heartbreaking and utterly believable ending

Best ballet night ever, remarkable cast. So sad it is not recorded 

Thank you Will ,Yasmine,Luca and all

I so agree with this/ it was exceptional in a way I can’t quite put my finger on - it would be interesting to see another cast just to see if it’s something in the staging that has changed or if it’s just down to these two particular dancers… maybe it’s both,  who knows…but the humanity that they both brought to their roles took it to another level i think..  .. 

2 hours ago, Linnzi5 said:

He really was so convincing, wasn't he? I didn't doubt for a second that it was love at first sight for his DG.

I think I said last night that I felt Yasmine's performance was so nuanced - I felt she spoke with her body and I knew what she was saying to me. Her Manon was so likeable and despite her immaturity, it was made clear to me that she was a victim of the society she lived in and her own circumstances. She made it clear that she was also manipulated by her scheming brother and I could see her reluctance to comply with his demands of her. I liked that in Act III, Yasmine's Manon was already broken. For me, her physical weakness was there from the beginning and that made her death so much more realistic for me. 

I found his performance so compelling. I felt his ache for Manon and his total confusion as to why she was behaving the way she did. 

Yes. I really thought he was brilliant. So confident and, despite his scheming, he did redeem himself. He was a brilliant drunk - not too over the top but there was also no doubt he was totally plastered! 🤣

Anna Rose surprised me at her debut at how funny she was. Her dancing was wonderful, of course, but her Mistress had so much character! At the same time,  I also felt a sadness from her at the way she was treated though. A very convincing performance.

No. I particularly thought so on several occasions and just wanted to 'wind up' Koen Kessels and say, ' Get a move on!' 

That's lovely! I'm so glad she enjoyed it.

She did. I felt this was more apparent last night.  Don't know if you agree? Her Manon was just perfect. I also felt her dancing in  the brothel scene was absolutely stunning - she oozed sexuality, yet at the same time I felt she was so vulnerable and conflicted. Part of her enjoyed her sudden power and wealth (the gorgeous dress and sparkling jewels), yet this was also not of her own choosing and I saw the regret in her eyes each time she saw DG.

Oops! See above! 🤣 There was just something which told me she was not enjoying being 'owned'. She went along with it all but something in her body language also said that she did not want to be there.

Me too! We always say this, but I wish someone would look at me the way Bracewell looks at his partners. 

 

I just want more of Yasmine's and Will's Manon! 

1 hour ago, Agatha said:

Just sensational dancing last night, with beautiful performances all round but especially from Nagdhi and Bracewell with such wonderful and clearly expressed characterisation. 
 

I was in tears when the curtain came down (which I think amused my neighbours, but oh well!).

 

I do think it’s a shame they only have two performances. I’d love to see them again this time around. 

I’ve written a great long screed about last night echoing and elaborating on all of the above but for some reason it didn’t post - I think I must’ve been interrupted and forgot to hit submit…so I’ll just say Bracewell was extraordinary - probably the best embodiment of ardour and pure love that I’ve seen at the ballet and Yasmine made an often unsympathetic character utterly sympathetic as she lurched from young love and sexual awakening through , luxuriating in her sudden wealth and power, to deep regret and loss oozing out of every pore.  Both the ultimate RB dance actors whose technical perfection (those pdds, his solo, the air twists…) goes without saying… I had been worried that Yasmine was too naturally ladylike and innately ‘good girl’ (the perfect Giselle) to pull off the more ‘stereotypically ‘minxy’ aspects of Manon but she did it and humanised her to boot… a triumph that I hope we see reprised soon and filmed too I hope…. 👏🏼👏🏼👏🏼

and ps when she was passed from man to man in act 2 -what do we call that?  that was like the Arabian on steroids - utterly sexy yet somehow  menacing - you could hear a pin drop in the audience…. Her poise and control was breathtaking..  ❤️ (and kudos to handsome Leo Dixon for his interesting rakish interpretation of a Gentleman while handling those hand overs with aplomb.… )

20 minutes ago, Sim said:

Well that was something special tonight. 

I’m so sorry I didn’t see you - I wasn’t sure if the table was the right one and time was tight - what a night! What a performance! I’ve always really loved Bracewell but this was extraordinary.  So much to say about both of them but train hell is distracting me. Was it different from their debut in any way? 

18 minutes ago, LinMM said:

We get this trespassing on the line on the Brighton line too ….often at the same place!! Sometimes it’s just a hold up of about 15 mins but if goes on too long then we will end up being turfed  off the train at Three Bridges (Driver change stop) as they re sort the timetable.
Once in one of these line trespasses I had the tickets for three other people too ( in the days before itickets) and just made it by skin of teeth!! 
Enjoy the Manons today all who are going. 

Ugh that sounds stressful…

1 hour ago, Sim said:

We sit in the Floral Hall next to the small staircase that leads down to the old part of the House.  As you look to go down the stairs, we are usually at a long table just to left of them.  Would be lovely to meet you, but if you are with your hubby on a birthday treat, no problem if you can't make it!  If you do, please don't feel obliged to stay; just a quick hello would be great!

Yes I know exactly where you are and we’ll be somewhere there too so I will certainly try. Do you have any helpful sartorial signposts? A red scarf? A gold tiara! 

1 hour ago, Sim said:

Come and say hello Linnzi; we will be in the usual place!

1 hour ago, Linnzi5 said:

I hope your journey isn't too disrupted. I loved their debuts and I really hope you enjoy tomorrow's performance as much as I enjoyed 20th January. I'm really looking forward to tomorrow! 

Thank you very much Linzi that’s very kind. I think we all are! 

1 hour ago, Sim said:

Come and say hello Linnzi; we will be in the usual place!

1 hour ago, Dawnstar said:

 

Good luck from a fellow Cambridgeshire resident! I was fortunately able to attend their first performance, as I couldn't face the combined engineering & strikes that will be blighting this weekend's trains.

1 hour ago, Dawnstar said:

 

Good luck from a fellow Cambridgeshire resident! I was fortunately able to attend their first performance, as I couldn't face the combined engineering & strikes that will be blighting this weekend's trains.

Thank you! Very wise! Dreading all the bus nonsense but it will be worth it! 

4 minutes ago, Sim said:

Come and say hello Linnzi; we will be in the usual place!

Thank you me too🤞🏼🤞🏼🤞🏼

6 minutes ago, Sim said:

Good luck balletyas!  I do hope you make it.  If so, let me know if you want to come and say hello in the interval/s. 

 

Oh thank you very much! Whereabouts do you hover? I’m coming with my husband as it is actually my delayed birthday treat so might not manage it but it would be lovely to meet a fellow Nagdhi fan!  
 

I do hope so. All I know is having had to miss the Nagdhi Bracewell debut due to illness I’m going to brave the train strike hassle from Cambridge for tomorrow night’s  performance come hell or high water! 

25 minutes ago, capybara said:

My wishes (which apply mainly to the RB) are:

- that (most casts) get three performances in a narrative or classical run in order to be able to develop their roles, reward their efforts and provide more flexibility for their audiences; (if an up-and-coming First Soloist has to wait a little longer for a debut, so be it);

- that the RB in particular demonstrates to the outside world (and I mean world) that it has BIG STARS whose artistry is at least on a level with international artists whom people seem to be more ready to laud; (this might mean diminishing the publicity currently afforded (eg) Nunez and Osipova but it’s high time that the reservoir of top talent the RB has in the 30 - 35 age range is celebrated and promoted)

- that ‘new agendas’ are not so dominant as to deprive future audiences of historic jewels or skew the overall shape of a season etc.; in this connection that ‘residencies’ (choreographers etc) are re-thought to open up creative opportunities

 

In setting down the above, I recognise the challenge each represents, but they must be met if the Company is to continue to thrive.

I second all three!  

7 minutes ago, bridiem said:

 

That's ridiculous. Surely anyone could have done it!

Yes indeed!