Balletfanp

A real shot in the dark, I know - but if anyone winds up with a spare ticket for this…. I wasn’t fast enough yesterday! Ideally the cheaper tickets £63 or below. Very unlikely, I know, but worth asking…..

Vadim has his work cut out partnering four different Odette/Odiles! 😂

Well, I do recall Muntagirov on one occasion rolling so fast and so far that he very nearly went off the stage - a number of people gasped out loud, myself included, because it looked for a second as though he was going to land in the orchestra pit! Spoke to him at the stage door afterwards and he confirmed it had been a close call! 😂

I forgot to mention Bennet Gartside’s fantastic Rothbart! Very remiss….

I went to see Swan Lake on Saturday so I’m a bit late with my review. I went with a group of friends/family, one of whom hadn’t seen a ballet before. I’m happy to say she was absolutely blown away and is keen to see more! Seeing the production through her eyes also made me think that we can get a bit nitpicky about this production sometimes - it’s certainly a wonderful spectacle with lots to love (but I’m in the “too much Benno and not enough Siegfried” camp and I will never love that ending!). Anyway - despite there being “too much Benno,” I did think James Hay was excellent - lovely dancing and expressive acting. Isabella Gasperini stood out with her lovely smile and fleetness of foot as well. Yasmine Naghdi danced both Odette and Odile beautifully and I loved her little petits battus - so fast her foot was a blur. But I’m not sure I got either the vulnerability of Odette or the fire of Odile in full measure. It was a fantastic performance, but for me didn’t quite convince. Having said that, she did have to step in with a partner she hadn’t been rehearsing with, and I think dancers need that rehearsal time to really connect with their partner, so given the situation I’m probably being a bit too critical. Muntagirov, it goes without saying, was a wonderful soulful Siegfried - he seems so lonely and vulnerable, young and lacking in the confidence he needs to rule, then boyishly excited in Act 3 when he thinks he has found his love. His dancing, of course, was just stupendous - that achingly sad soliloquy with those glorious lines (I doubt you would find a more beautiful example of male classical dancing anywhere), then the fireworks of his Act 3 (those double double tours!). One of my friends said “He’s like a lovely gazelle” and I couldn’t have put it better myself. They weren’t, of course, with their intended partners and I didn’t quite “feel” it between them. But when you have to tweak the casting at the last minute, it’s rarely ideal; I still really enjoyed their performance and my friends certainly loved it! Other mentions - the princesses don’t get much to do, but Leticia Dias certainly made the most of her Spanish princess, all fire and flirtatious eyes. And I very much enjoyed Luca Acri and Yuhui Choe’s Neapolitan - bonus points to Luca for managing to bash his tambourine in time with the music! It really jars on me if it’s out of time! I do love the national dances in this and the costumes are to die for. And of course, the Corps were just wonderful - they all deserve medals!

This is so sad. I can only imagine what a hard decision it must have been.

Well, what a hugely enjoyable evening it was last night. Such a huge mood lifter, the colour and fun couldn’t fail to entertain and brighten everyone’s mood. The slightest of stories padded out with wit and humour. The production has been very skilfully adapted from the RB version to fit smaller stages but hasn’t suffered by that for the most part - I didn’t miss the larger scale. Some of the new costumes are beautiful (especially the gypsies in Act 2). Nunez and Muntagirov did indeed wear their RB costumes throughout (not enough time to fit them with new ones, I don’t suppose), but they blended in and didn’t look out of place. The windmill effect was cleverly and effectively done. My only regret was the loss of those beautiful pastel floral tutus in Act 2 - some of my favourites in ballet - although Marianela did wear hers. The new ones are lovely but couldn’t match those imo. On to the performance. The Company as a whole danced with great fire and enthusiasm with some standout performances - more on those later. There was the odd mishap; what looked like possibly a slippery patch on the stage caused one of Kitri’s friends to take a tumble, and two matadors had a mid-air collision due to, I think, one of them leaping the wrong way, ending in a fall for both of them. It actually looked quite nasty - they did, like the professionals they are, pick themselves up and carry on, but I do hope they are both OK 🙁. Marianela and Vadim were absolutely on fire. Marianela is such a perfect Kitri - as Acosta has said in the past, she is made for this role, funny, feisty, flirtatious, and with the stunning technique to match. Vadim is the sunniest, most charming Basilio you could hope for, with that brilliant smile, a cheeky edge and great comic timing. His Basilio is ever optimistic and never cast down by any of his tribulations. Of course - it goes without saying - his dancing and partnering were both superb. The first one-handed lift was rock solid and held perfectly. The second wasn’t quite so clean and again it looked as though Marianela didn’t quite position herself perfectly for it so she was slightly off balance from the word go. It was still held, but wasn’t as long. It didn’t matter! Their Act 3 dancing was just stupendous. The pas de Deux was simply a masterclass in classical dance and partnering, and they are relaxed enough with it for it to look effortless, which allows them to connect and enjoy it. It’s a common thing with most dancers that that you can kind of tell from their faces when there’s a tricky move coming up - never with these two. I adore Marianela’s Kitri variation and the flirtatious, vibrant character she brings to it. She works that fan to the max! Vadim’s solo was amazing - those effortless leaps, those perfect, whip-fast pirouettes. He didn’t have the space on stage that he really needed (he didn’t do the split leaps he usually does), but in the coda he did do those amazing - what would you call them? Scissor action cabrioles? - that no one else seems to do, and make me wince a bit as I can’t help but think of the strain it must put on his back to do them. But they look spectacular, no doubt about it! The audience began to applaud halfway through the coda and didn’t stop! Of the other performances, the standouts for me were Alexander Yap as Espada - possibly the best Espada I’ve ever seen. I’ve never seen him in anything else but he totally owned that role. One could understand why the townswomen were swooning over him! Also, the lead gypsies, Eilis Small and Javier Rojas - she smouldered wonderfully and he danced and leaped with abandon and a very Romany flourish. It seemed a little odd seeing a male dancing Amour, but then, why not? Cupid was male, after all. Max Maslen danced the role beautifully and cleanly. There was massive applause at the end with some people standing, then when Marianela and Vadim came on there was a full house standing ovation and a huge roar of applause - totally deserved! A last but not least mention for the orchestra, conducted at a slapping, sprightly pace by Philip Ellis, better than the sometimes rather sluggish pace one sometimes gets with the ROH orchestra. All in all I’m so glad I made the trip!

This is so sad. His Zoom interview with the LBC recently was fascinating - what an amazing man.

As shown by a recent post by Muntagirov on his Instagram. Also interesting to see the comments from past and present dancers from both the RB and BRB. https://www.instagram.com/p/CY6eBC6sRC0/?utm_medium=copy_link

Well, they both brought the house down at the ROH last time around. Nunez embodies Kitri and Muntagirov’s solos elicited audible gasps, plus he got to show off his considerable sense of humour. I can’t really imagine that the majority of the audience will feel disappointed! 🙂

There are 30 performances across the whole run of Don Q so I wouldn’t have thought two performances would make a lot of difference to BRB dancers’ opportunities.

Well, if they perform it as well as they did in the ROH a few years ago, audiences are in for a treat!

It’ll still be on iPlayer, for a while at least.

I think it’s the sort of thing that can work well for something like a ballet class but for other types of teaching or in an interview situation, it is very hard to manage and usually leaves the Zoom attendees dissatisfied. I speak from experience having spent a lot of time this last year or two having to teach via “hybrid” sessions….. unless you have a room that is set up for that exact situation (meaning strategically placed cameras and microphones), it really doesn’t work well!

Got it too - thought it looked dodgy and didn’t click the links.

Many congratulations and thanks to all!

I was once selected at the age of 9 or 10 to present her with a bouquet at the BBO summer concourse, which would have been around 1975 or 1976. She and Andre Prokovsky came and danced the White Swan pas de deux for us in the studio. I have only the vaguest memory of most of that day but I do remember seeing their beautiful performance up close 😌.

I’ve never heard that. One would hope that 40 was just a number plucked from the air, and that he won’t suddenly down tools at that age regardless of how he is dancing!

I do hope he’s OK….

When I saw Nunez and Muntagirov, it was definitely him who threw it away, with a “Well, that served it’s purpose!” air that raised a giggle in some of the audience!

A bit late to the party here as it’s been a very busy long weekend, but here goes with an attempt to review the Thursday matinee Nutcracker….. I say ‘attempt’ as it was just a superlative performance all round with no weak links, so I’m not sure if I will have anything other than praise to dole out! Every year I think “I won’t bother with the Nutcracker again this year, I’ve seen it so many times” and every year I cave in and see it, and it works its magic every time. But Thursday’s performance felt very special, somehow. Whether it was because I was seeing it with a good friend I hadn’t seen since well before lockdown, or because it was the first time in two years seeing a full performance with a full house, I don’t know. I was lucky enough to see one of the socially distanced performances last year, but although good, it wasn’t quite the same. Whatever, from the moment the curtain went up on the party scene, I was an emotional wreck fighting tears all the way through. The older I get the more emotional I seem to be! it just looked beautiful, for a start - all the glitter and sparkle that never fully comes across on a DVD or in the cinema we’re there in full force - plus that glorious music, the tree, the snowflakes… but I’m babbling now. All the performers were fully invested in their roles and danced them with such love and enthusiasm that it was completely infectious. Anna Rose O’Sullivan IS Clara - and I very much enjoyed Joseph Sissens’ Hans Peter - he is always a beautiful dancer and his vitality in the role and wide smile made him so engaging to watch. i thought the pared down Arabian worked well, danced with her usual fluidity by Melissa Hamilton and it kept the best of the original choreography. Both the Chinese and Russian dances were exuberantly performed and greeted with lots of applause - and how nice it was to see Yuhui Choe back onstage and performing so well. With Nunez and Muntagirov, I’m almost lost for words to describe the perfection of their performance, both together and individually. They are both so musical, with nuanced phrasing, and seem so at home with each other in these roles that it was a joy to behold. Nunez’s Sugar Plum Fairy was just so dainty and regal at the same time, her every step reflecting the notes of the Celesta. Muntagirov as the Prince was so incredibly light and effortless - his landings in the coda so elastic and cushioned they were a work of art in themselves, never mind the rest! I don’t know how he manages it. We were quite confused at the end as, instead of the curtain going up on the whole cast as usual, the ‘red run’ curtain calls took place. We were surprised but went along with it. Then there was a pause and the audience almost went quiet - I think everyone was confused as to what was going on - but then the curtain went up and the usual applause for the whole cast rang out enthusiastically. Then, of course, all became clear as Kevin O’Hare escorted Sir Peter onto the stage to wild applause, and the birthday banner came down. Sir Peter is looking frailer these days but was obviously in tearing spirits and said a few words in praise of the cast and how happy he was to be there. Kevin pointed out that the banner had been (rather obviously!) ‘recycled’ from five years ago 😂 and a ‘cake’ was brought out with candles. Apparently, the audience weren’t allowed to sing Happy Birthday but the orchestra played it and everyone mouthed it! Lots of enthusiastic hugging with cast members then took place. A wonderful surprise occasion to top off an exceptional performance and experience. I expect I will end up going next year again……

I went to the performance last night. I had forgotten what a thing of Beauty Act 2 is, and that alone is enough to make me feel emotional - add that to the wonderful performances right down to the newest members of the Corps and you have a recipe for restrained blubbering from me! In particular the sequence following Giselle’s first ghostly appearance to Albrecht - I always find that especially moving. As well as the end, of course….. I think Nunez’s Act 2 is phenomenal. She has the control and the technique to make it look effortless and for a dancer who is not naturally ethereal, she manages to appear so beautifully and convincingly. I had watched the 2016 DVD before coming (to get in the mood) and it was interesting to see how the characterisations from both Nunez and Muntagirov had developed from there - last night, her initial defence of Albrecht had a real edge of defiance to it that wasn’t there a few years ago. And, although she never 100% convinces as the innocent ingenue of Act 1, she was still excellent - more natural than in the recording and she did all the right things, but she is perhaps too mature (and I don’t mean her age, more just the way she is) to entirely convince. However, I do love her mad scene - it’s not overdone and is played very much for realism, which I find far more upsetting than histrionics 🥲. Muntagirov was superb and I found him terribly moving. His acting and characterisation has come on in leaps and bounds since the recording, and his expressive face was bang on the money last night and showed every detail of what was going on. His Albrecht is not a cad - more an entitled aristocrat used to taking pleasure where he finds it, with no thought at all that there might eventually be serious consequences. His face of dismay and horror upon being confronted by Myrtha and realising that the Wilis are not just a legend (which he was evidently whispering to Giselle in Act 1 when her mother is telling the story!) was perfect. There were lots of little touches I hadn’t seen before, such as at the end, when Giselle was drifting away from him and he realises it’s for good this time, he broke down in tears (which finished me too!). Needless to say his dancing was as superb as ever - he positively exploded onto the stage in his Act 2 variation (huge applause - someone behind me muttered “Wow, he is amazing!”). As for the entrechats, they were crisp and perfect, and Muntagirov is one who will put artistry above tricks if he feels it is more appropriate - and actually, the following sequence he then has time for, of the leaps and pleading arms to Myrtha are extremely effective in the context of the story. Mayara Magri is currently my new favourite Myrtha! She may not be tall but my goodness, she commanded that stage and everything on it. As others have said, those bourrées were phenomenal - one could really believe she was an ethereal being, so rapid and smooth were they. And she has a wonderful jump - in her entrance with the grand jetés in the Wilis sequence, she pretty much tore up the stage. I loved her little touches too - the anticipatory smirk as she sneaks off when she sees Albrecht approaching (“I have some prey to kill tonight!”) was wonderful. You could almost see her rubbing her hands! Lukas Braendsrod was excellent as Hilarion. A friend pointed out to me afterwards that he was the oerfect foil to Vadim - Vadim elegant and aristocratic, Lukas more muscular and earthy - pretty representative of the choice Giselle has to make! Again, great acting from him. Olivia Cowley (how nice to see her back!) and Gina Storm-Jensen as Moyna and Zulme were both convincingly stern and both danced beautifully. And what can I say about the Corps? Absolutely wonderful. I love the sequence where they are all hounding Hilarion to his death! They deserved all the applause they got - which was a lot. Quite a crowd outside the stage door last night, of people wishing to show their appreciation of a wonderful performance. Nice to see.

I sang that in my school choir and of course it’s a well known Carol! I had no idea it was Adolphe Adam!

But he doesn’t collapse immediately after them, there is another sequence of leaps to follow before that happens.

I don’t think he has anything to prove, really - no one who saw him doing the full sequence of 32 perfect entrechats sixes in his living room in lockdown videos can doubt that he is more than capable of executing them wonderfully if he so chooses. Possibly he sticks to the Sir Peter Wright choreography out of respect - I’m pretty sure I read somewhere that Sir Peter isn’t a fan of the entrechats!