Balletfanp

54 minutes ago, TSR101 said:

I know he was invited for Raymonda I think, but they didn’t happen because of strikes. I believe he then later did perform there. 

No, he never performed Raymonda after that as all his performances ended up being cancelled. He had previously performed in Giselle there, though.

Thank you @lady emily for recording that - I was hoping someone would as I couldn’t be there and I love to see these send offs! What a lovely man he is.

Not sure what comes after that but yeah, me too! 😂😢

And having said I couldn’t really add much, I realise that I did, in fact, add a lot - sorry!

2 hours ago, Rob S said:

 

Did you also miss the strange silhouette of Odette on top of the rock before she was supposed to be spot lit, she looked like she was having a conversation with someone on the ground  behind the rock

Oh, that’s what was going on - I was very much on the right so couldn’t see that part of the stage very well, but there did seem to be a lot of moving shadows that I didn’t recall seeing before!

I can’t really add much to the superlatives already stated about last night, but I think I could watch Marianela and Vadim’s Act 2 pas de deux and their Black Swan sequence to the end of my days and never get bored. They make it different every time and I always have a frisson of excitement just before the Black Swan sequence because I know we are going to see something something spectacular. Marianela’s fouettés are always perfect, but more than that, beautiful to watch. Vadim’s now trademark double double tours were spectacular and absolutely bang on the nail finishing in a perfect fifth. And just how does he appear to hang in the air in those jetés and still land soundlessly? I’m always in awe!

But as well as all that they both acted so well all the way through. There isn’t a moment on stage where they let the character slip. Marianela’s Odile is just deliciously seductive and malicious, with Vadim’s naive love/lust-struck Prince an effective counterpoint.

And Vadim’s Act 1 soliloquy was just so beautiful it brought a lump to my throat.

I thought Luca Acri was brilliant as Benno, both dancing and acting were on point throughout. I’ve always felt he was very underrated and I’m very happy to see him coming into his own so much more lately. Isabella Gasparini and Sae Maeda were exuberant, charming princesses. Gary Avis was, of course, excellent as always. But a special mention for the Corps, who were on great form and more together than I have seen them in this before, I think. Impressive synchronicity throughout in the group ensembles, especially the men in Act 1. One thing was that I felt the Cygnets’ tempo was incredibly fast, they did very well to keep up, but it did make them ever so slightly ragged - maybe just me - but I felt it was more the fault of the tempo than of them.

An absolutely fantastic opening night to remember, with a standing ovation. The ROH seem to have started to switch on the house lights on their last bow so that the dancers can see it, which I think is a really nice development. I’ve spoken to dancers at the stage door before and mentioned their standing ovation, but they always said they couldn’t see it, which seemed a great shame. Well, they can now!

I can’t comment on past pairings of dancers because I haven’t seen them (except in often poor quality YouTube videos). But I feel that the Tchai Pas is a piece that should be danced with complete joy, and the only current couple I have seen who do this is Marianela and Vadim. Technically brilliant from both (of course), but as well as that, danced with a sheer exuberance and joie de vivre (and huge natural smiles and obvious enjoyment!) that I haven’t seen matched by any other couple, and that makes it sparkle and fizz. Reece Clarke was technically excellent but to my mind lacked the lightness of touch required and just seemed a bit too grounded.

I have only seen a brief clip on Instagram of the ending with Fumi and Vadim, and they looked gorgeous, but the thing that struck me was the little touches of characterisation with gestures and facial expressions that Vadim was adding whilst Fumi danced, that I don’t think I’ve ever seen before. He has said that he likes to build stories in his head during non-story ballets and it looked as though that was what he was doing there.

I did see a pairing online that I thought was a big Nope from me, and that was Ashley Bouder and Semyon Chudin. She was brilliant (and obviously very familiar with it), but, whilst I think Chudin is a beautiful dancer, he didn’t seem comfortable with the choreography at all. And the fish dives were positively terrifying in all the wrong ways - he didn’t seem to be holding her properly and it looked as though she was about to come a cropper in both of them!

Unlike some posters, I thought last night’s performance was a tour de force from both Fumi and Vadim. No nerves in this performance . I love their partnership - I felt quite tearful by the end of Act 1 because the pas de deux were so beautiful. The steps flowed and I found their connection positively glowing. There was an intimacy and a realness about them that I don’t think I’ve seen in any other partnership. And their Act 3 was simply stupendous.

I love Fumi with William, although I’m not sure I see it as the ‘best partnership since…..’ that some seem to find it. For me, last night in particular, we have seen a wonderful new partnership beginning, and of course Fumi will continue to dance with William, in the same way as Vadim will continue to dance with Nela. Mixing things up from time to time is a good thing, not least for the dancers themselves, who must start to get a bit stale if they dance with the same partner all the time.

I see no reason why ‘special’ partnerships need be restricted to one particular combination. Vadim has had wonderful connections in different roles with, for instance, Sarah Lamb and Laura Morera (magic really seemed to happen the few times she and he danced). Ball has always had a great partnership with Yasmine Naghdi, but has also forged great performances with Cuthbertson and Magri. But they are just all different. And now Vadim looks to be starting a really beautiful partnership with Fumi that in no way takes away from her lovely partnership with William. Bring on more of all of them, I say!

43 minutes ago, capybara said:

She did not formally recognise the retirement of Daria Klimentova and was reportedly not keen on  anything else special being done at the RAH. However fans and dancers took matters into their own hands to memorable effect. Likewise with Elena Glujidze a few months later at the Coli.

 

Both of these very substantial floral tributes were funded by grateful supporters and recordings are somewhere on YouTube. I hope that YY Tan was similarly showered with flowers from her audience.

I was there too. It seems incredible that a ballerina of Daria’s stature, loved by fans, was to be shuffled off without anything. But thanks to the supporters who bought and organised the flowers it was a truly memorable occasion that I will always remember.

AD’s who are inclined to take this attitude need to remember that it is also depriving fans of a chance to say thank you and goodbye to dancers who have given them a great deal of pleasure over many years. There is a feeling of being cheated in those circumstances.

At least the RB does it properly when a Principal retires!

I was going to say myself, new choreography doesn’t have to mean contemporary, and Vadim has given stunning accounts of various neo-classical works.

He does mention in his book that Michael Clark wants to choreograph something on him (now that would be interesting!) but given busy schedules who knows if or when we will ever see it.

59 minutes ago, Rob S said:

 

Gary makes his mark within seconds of stepping out of his carriage, no other GM can compete really, and he's the best gaoler too. After Saunders' GM is injured in the sword fight and 'goes after' Lescaut...I was left wondering how he'd do as the gaoler....I came up with Mr Barrowclough from Porridge

Oh dear! That did make me chuckle! 🤭😂

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!

12 minutes ago, Mary said:

….. it is acting through dancing rather than on top of dancing,- I can't express it but know what I mean - and noone does it like him.

 

 

 

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!

1 hour ago, capybara said:

But there are a surprising number of would-be attendees who need to make early requests for leave and make bookings for transport and accommodation if they are to secure affordable rates. 
 

Since this can make the difference between being able to go to the ballet or not, early casting information is pivotal.

 

And the summer Ashton programmes are of huge interest and significance to many people, not just those who speak up on this Forum.

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.

1 hour ago, Sim said:

They are probably hoping that he will make it to 25 years!

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.

56 minutes ago, Silver Capricorn said:

In the novel it is written (after DG's escape with Manon from Amiens to Paris): "We forgot our wedding plans, bypassed church law and became husband and wife without thinking".

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!

40 minutes ago, Roberta said:

 

Our posts overlapped, see mine above yours! 

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.

1 hour ago, Roberta said:

I think the dancing harlots, drunken dance, the role of Mistress in 'Madame X’s hotel particulier* where every woman is for sale', where fornication, drinking and high stakes gambling were all provided for gentlemen of large means and low morals in an upmarket setting was in part MacMillan's attempt to fit Manon into the three act traditional ballet format. It was the divertissement element, entertainment for the audience, not really meant as plot and character development.  Also of course, these dances give the spotlight to  higher ranking dancers in the company. The art of choreography for a large company has many constraints. 

 

See also @Sophoife post way back in this thread which describes what many would consider the sordid tastes of some and how poor young women were too often used, abused then discarded.  There was no safety net, no welfare state. The lucky ones worked in the more upmarket establishments such as this. Disease, pregnancy, age meant a constant supply of fresh young women had to be sourced. Virgins were highly prized.  Prostitution was illegal, which is why Manon was arrested.  Certain high level establishments had the protection of the very wealthy and influential who enjoyed all they offered.  This was an orgy in reality, dressed in finery. MacMillan did attempt to move the artform onwards, and, at times, upwards. 

 

Watch Deborah MacMillan describe how Kenneth MacMillan was badly affected by the criticism of Anastasia, and tailored Manon accordingly. He really was not adored by all fifty years ago.  Critics were frequently brutal. Ballet was still considered by many as a pretty entertainment, a nice night out at the Opera House.  https://www.kennethmacmillan.com/new-page-97 

 

(*London also had similar architecturally significant large townhouses in their own grounds owned by the fabulously wealthy, who also had even more splendid country mansions; a few of these townhouses survive.  Not all, of course, were used as brothels, gaming hells, drinking clubs, certainly some were. It was how life was lived by many. See also De Valois' Rake's Progress.) 

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!