Balletfanp

Home now and have had time to assemble my thoughts on the journey back. I’ll try to keep it brief, but best intentions and all that…. here goes. I found last night’s performance a thing of beauty, gut wrenching, horrifying and incredibly moving. What a debut from Fumi. I knew she would be a brilliant Manon. She danced wonderfully, looked stunningly beautiful and portrayed Manon the way she saw her. Little things I noticed - after being seduced by GM at the behest of her brother, she seemed to linger rather longer over the part where she lays her cheek on the bed than other Manons I’ve seen (although admittedly I haven’t seen many) - which made it very clear that she genuinely loves DG, and doesn’t really want to go, but the pressure from her brother and the more secure position offered is forcing her into it. This was cemented by the sad, wistful glance over her shoulder as she leaves in her new finery with GM. And in Act 2, I loved her portrayal - it seemed that she was remote, distant, not really ‘there’, as though she had formed a shell to protect herself from the seedy life and situation she found herself in. The fragility of that shell became evident when she caught sight of DG and the first crack appeared. When DG began to importune her more, her rejection seemed almost desperate, as though she could feel herself weakening but was terrified of losing what she felt she had gained. And her occasional teasing glances towards him seemed to be trying to convince herself, more than him, that he had no power over her. in Act 3 I found her devastatingly vulnerable. The rape scene in particular was a hard watch. I’ve seen it numerous times before and it is never pleasant, of course, but last night I found myself shocked and shaking at the end of it - I think because the wonderful Gary Avis was so brutal and vicious and Fumi looked so tiny and vulnerable and crushed (in all senses) by him. Also Fumi seemed to fight against him more desperately than some I have seen. And as for Vadim - I must say I feel puzzled by those saying they didn’t quite feel him in Act 1 because I felt he was right there in the character from the word go. Much has been made of a couple of wobbles in his solo, but really these were minor and didn’t detract from his swooningly beautiful lines and above all, the emotion of the adoring looks he cast at his Manon. I found it unsurprising that this Manon would fall for DG immediately! The two following pas de deux were things of complete joy and beauty, with such a gorgeous and intimate chemistry between them. Vadim’s Act 2 solo was one of the most beautiful and heartrending things I have ever seen on stage - his sublimely expressive body and physique, his emotion and acting made it completely heartbreaking and I was having some trouble holding myself together at that point. What Manon could resist? The shell completely cracked…. Throughout Act 2, Vadim conveyed the bewilderment that his lovely Manon could behave in that way, the pain and disgust and the growing desperation in bucketloads, until the climax of that sublimely moving solo. Someone said above (sorry, can’t remember who!) that Vadim portrayed the humiliation of the card game so well, and he did - he looked as though he absolutely hated himself for going along with it, but was willing to do anything to win Manon back. Act 3 was simply amazing and finished me off completely. I have already mentioned the rape scene, but Vadim’s solos, his tussle with the gaoler and desperate rush offstage…. 💔😭. The swamp pas de deux was just off the scale. Fumi looked so tiny and completely broken. The throws and catches were astounding and they certainly didn’t play safe on the run-across-the-stage-and-fall move - I had a momentary access of panic as from where I was sitting it looked as if Vadim was too far away to catch her…. but it was visceral, desperate and just felt so real. And I have never cried at the end before but Vadim just wrenched the heart from my body. Amazing. Above all, in his performances Vadim displays a sincerity and involvement that is uniquely his. What an artist he has grown into. I’m sure the Fumi and William partnership will continue, but I for one am excited to see more of Fumi and Vadim as well - they have tons of chemistry and I am now imagining them with anticipation in the pas de deux at the end of the Winter’s Tale, which always moves me anyway, but with them ….! As far as the rest of the cast goes - I actually thought that Joseph Sissens made a very promising debut. For sure, there is more character development to work on, but that’s in the nature of a debut. He danced wonderfully and I thought he played a drunk very well - funny and realistic, but not over the top. I was slightly disappointed with Leticia Dias. I really like her, and there were some really nice touches in her characterisation, but I thought her solos were too tentative and lacked attack. But again, it was her debut and I’m sure she will grow into the role as more time passes. Like others, I found some of the other pieces messy - the three gentlemen in particular. I’ve already mentioned Gary Avis’s brilliant and loathsome gaoler, but I wish he could have doubled up and played GM too - his portrayal is so much better than Christopher Saunders. To be honest, most of the time last night I almost forgot GM was there, because his performance just made no impact on me whatsoever. A shame. Tom Whitehead as the old client seemed to be having a lot of fun with the part and really made me laugh! A final word in praise of Vadim’s impeccable partnering. You really need to be able to trust your partner in this ballet and a brand new Manon really couldn’t be in better hands. For potential stage door visitors - there were a lot of people there last night and they employed the desk for signing/selfies and were just letting a few at a time in. And Fumi and Vadim were an absolute delight🙂. And didn’t even look tired although they must have been. Superhumans!

You’ve hit the nail on the head - his acting comes from deep within him and expresses itself in every move, not just his face.

Couldn’t agree more. I’m a bit of an emotional wreck and need to process the performance. More tomorrow….

Me! 😀

The ROH posted on its Instagram page at around the same time. They are usually slower to update the website.

Time to wait depends on a lot of things including guests they might have to meet backstage, how much costume (wigs etc.) they might have to remove. I would say expect to wait half an hour at least but as I say, it can be a bit unpredictable. Vadim is always very good about making time for everyone and a polite request to sign something/take a selfie is always fine. That said, the dancers are tired and do need to get home so usually best to exchange a few words and keep it fairly brief!

I appreciate it’s hugely complicated. But it’s not as though they haven’t known it’s coming for months on end….. and knowing the complications, it might have been prudent to be thinking about casting a lot earlier than might usually be the case. Yes, there are always going to be a number of unknowns such as injuries - but I don’t see why they couldn’t have had a basic plan in mind much earlier.

Indeed, and prices have gone up anyway (cost of living etc.) so it’s getting harder to find good deals. But we’d better return to the thread!

Yes - this. I am very much in this position. I work full time so need to book the relevant leave before my work calendar starts to fill up with things I then won’t be able to juggle. Plus, I come up from Plymouth so travel and affordable accommodation are necessary. And if I am spending that amount of money to come up, I want to see casts with my favourite dancers! If I lived in or near London it would be different and I would be happy to see multiple casts - but I don’t have that luxury. Obviously casts change due to injury/illness and that’s one of the risks one takes in my situation - but that, at least, is a known and acceptable risk. Not having any inkling of what dates to go for is quite different and means I can’t make any booking decisions until I know - by which time a) I might not be able to book the leave I need; or b) all the seats I book for preference might have gone.

Possibly - and I hope he will! But it would make him 48….and it appears to me from things he says in interviews sometimes that he is one who will probably stop dancing if he feels he is no longer on top of his game.

It would be nice, but I doubt it will happen somehow.

And actually, the Church for many years considered that the act of sex made people husband and wife in the sight of God, regardless of whether or not any ceremony had taken place.

DG isn’t entirely whiter than white - he agrees (albeit reluctantly!) to cheat at cards at Manon’s behest!

Haha, yes, the very book! 😁 My husband bought it for me one Christmas - not really sure what he was trying to say!! But a fascinating read.

I read a fascinating book about this some years ago and interesting although it was it was a hard read at times because of the tragedy of the life that these women had, in most cases, no choice but to live. It was that or starve. Even the courtesans at the pinnacle of their success were vulnerable and could fall into the doldrums if their protector deserted them - they had to find another quickly. And of course the centre of the sex trade in London - and of Europe, according to the book - was Covent Garden and the surrounding areas. There are contemporary engravings of prostitutes plying their trade under the very portico of St Paul’s church. And I worked out that one of London’s biggest and best known brothels was on the very site of the new wing of the ROH. Something to think about if you visit the stage door…. Particularly after Manon!

I imagine there is an element of both aspects….

Sissens debuts as Lescaut too.

Thanks @PeterS - that works if I access the stream on my phone, say. But the TV app (and I’d far sooner watch things on a big screen) has no A-Z option, and the filtering of what is there is clunky. And as I said, filtering by Ballet and Dance seems to miss stuff that is definitely on there on the Home Screen. So I end up on the Home Screen going around in circles trying to find what I’m looking for at the time.

I don’t know who designed the streaming service but finding anything on there is a pain. If you filter to ‘Ballet and Dance’ it doesn’t seem to pick up a lot of stuff that is actually on there. I tend to stick with ‘All performances’ but the way it is sectioned means you have to hunt around even then. And why on earth is there no ‘Search’ facility?? Every other tv app has one. Anyway, I will have a go tonight at looking for the Vadim Spotlight - wish me luck!!

Most of the dancers I follow have posted the information.

I love that! It’s quite astounding and amazes me every time.

I too was there last night and really enjoyed it. The whole cast looked on fine form and seem to have such an affectionate familiarity with this production. And by familiarity I don’t mean boring. We were sat in the Stalls Circle side surrounded by people who, from their comments and conversations, either hadn’t been to a ballet before or hadn’t seen the Nutcracker before. It was rather nice hearing their enthusiastic reactions, not just to the dancing but to small things like the magic tricks, and it made me see it all in a refreshing new light, reminding me of how I felt when seeing it for the first time. I thought Madison Bailey and Liam Boswell made a very fresh and charming partnership although I agree with you @Missfrankiecat about the partnering in places. But this will improve with practice and more experience, of course. Overall I loved their performances. The divertissement I really enjoyed in Act 2 (although all were excellent) was the Arabian, with Nadia Mullova-Barley and Lukas BB (sorry, no disrespect meant but I am struggling to write this on a bumpy train !). He is always excellent in that, but Nadia was a really pleasant surprise - she exuded presence and sensuality and I found her quite mesmerising. I also found her really good in the Spanish dance in the last run of Swan Lake - one to watch. And well, what more can one say about the Vadream Team? Like @Missfrankiecat, I was struck anew last night by Vadim’s wonderful partnering. His confidence and sensitivity give them both the ability to concentrate on the phrasing, presentation and their relationship with each other. The pas de deux was just exquisite - I have seen them dance it so many times but they always seen to do something new - some small gesture or look - that makes it different each time and just adds that extra touch. And their eye contact and the tenderness with which they relate to each other is beautiful to watch. Quite apart from anything else, how does Vadim manage to look SO DARNED HAPPY in every single second, even with a ballerina on his shoulder and a tutu in his face?? 😁There was not a single moment where his face said “I need to concentrate here” or “Tricky moment coming up,” which is not something you see with other partners, even other Principals. It all looked so natural, relaxed and easy (although it obviously isn’t!) and it allowed Marianela to shine. Both solos were fantastic, of course. Personally, I think that the slower the SPF tempo is taken, the harder it must be to dance because it requires more control - which of course Marianela has in spades along with a host of lovely nuances unique to her. Vadim’s solo and coda was a masterclass in butterfly lightness and soundless landings and a manège where he seemed to float at high speed around the stage. Utterly gorgeous from them both. Gary Avis is still my favourite and inimitable Drosselmeyer and there were no cloak shenanigans on the red run!

Vadim Muntagirov was interviewed briefly on Abbey Radio this morning - interview starts around 1:34:45. https://player.autopod.xyz/489829

Ditto. You Mods do a fantastic job and the time you take out of your own lives to run this Forum is very much appreciated. Happy New Year!

Thirded here!