Balletfanp

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!

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!

I found it in YouTube but it’s terrible quality (the one I located anyway).

The Emma Livry part stuck with me as well - horrible!

That’s great news about the Magic of Dance. I really enjoyed the series when it was on.

Strapless was the dullest thing I’ve ever watched - and I usually like Wheeldon ballets!

It’s criminal that they chop off the end in that clip, though!

The ROH always show the cast from

the last stream on their trailers. Already comments along the lines of “But where’s Natalia??” on YouTube. I’ve pointed out that they can hardly show Natalia or Reece when they haven’t danced it yet!

2 hours ago, Sim said:

But as a partnership they have something very special that is above and beyond when they dance with anybody else and I can’t imagine it being matched (just my opinion). 

That was rather my point - it sounds as though your mind is already made up 🙂!

However, we haven’t really seen much of a Fumi/Vadim partnership at the ROH yet, except for the Two Pigeons, where Fumi was a last minute stand-in for Laura Morera. Given the limited rehearsal they must have had I thought they were lovely together and showed a very promising chemistry. And of course there was Rudolf and Marie Larisch last year…. those, plus photos and clips of them performing elsewhere online, make me view their upcoming performances with a great deal of anticipation. And it’s also lovely to know that there are bound to be many more Fumi/William performances coming along in future casting 🙂.

Of course - and that’s fine. My point was that, intentional or not, some of the posts came across as expressing a level of gloom at Fumi dancing with someone other than William, which seemed a little rough on Vadim, or on anyone else she might dance with.

Totally agree about the Fumi/William chemistry, although it strikes me that Fumi creates chemistry whoever she dances with. And of course, chemistry isn’t restricted to just the one partnership!

Anyway, better revert to the Nutcracker thread.

Our posts crossed, Capybara - you have pretty much said the same! 🙂

I’m probably going to need to take cover for saying this, but I’m not sure it feels entirely fair that people are already bemoaning the fact that Fumi will be partnered by someone else for two ballets. It gives the impression that she and Vadim are already being judged as “not as good as….” before they have even stepped on stage together. Obviously Fumi and William are a great partnership, but I think she and Vadim could be just as good - they both have to dance with other people sometimes and it’s good to mix things up. I just hope people haven’t already decided on their verdict.

I saw him perform live once. A very compelling man.

If you are talking about the seat in Row A of the Orchestra Stalls that is directly behind the conductor, I’ve sat there a couple of times and have not found the conductor to be a problem.

Oh no…. 😢. Happy memories of parties at uni given added zest by the music of the Pogues.

There seemed to be a lot of young people (girls in particular) at the opening night with Nunez and Muntagirov, who seemed to be responsible for much of the (possibly excessive) excitement. Personally I didn’t mind it and both performers mentioned on their Instagram accounts how much they had appreciated the audience support. It carried out to the stage door when no one could get out due to the throngs of, again, mainly young girls, surging forward to get autographs/selfies with Marianela and Vadim.

I saw their last performance and the audience were very enthusiastic but without the hysteria from the first night.

55 minutes ago, Odyssey said:

That’s so disappointing. It’s not as if they are short of screens! Kingsbridge was pretty full, but that would have been a fair old trek for you too.

Especially as I don’t drive….