northstar

Great to hear some reviews of this production. I saw ABT dance it in New York and commented in a thread earlier this year (here's the link if anyone is interested http://www.balletcoforum.com/index.php?/topic/9129-ratmanskys-revision-of-sleeping-beauty-for-abt/), and was very interested to hear some more experiences. I agree about the richness of the staging mentioned by SwissBalletFran and the charm and warmth of the dancing mentioned by stucha. But to my tastes the costumes sometimes went a bit over the top in terms of brightness/colour. On the dancing, in some ways it is a relief to see all those 6 o'clock extensions removed. But perhaps I'm rather too addicted to the excitement of classical ballet's physical spectacle, so could not help feeling that something was 'missing' when watching this performance. As the Guardian review that SwissBalletFan kindly linked above says, there is no sense of holding the breath in the solos and pas de deux. And on the demi-pointe work - I feel that feet in modern pointe shoes with the large block look slightly odd and awkward in that position. But that being said there was much I did admire, as I said in my original review. Thank you nickwellings for those wonderful thorough descriptions and appreciation of the production, they make me want to see it again. I've been going to classical ballet for years now, and watching it on YouTube, I think the gymnastic, athletic aspects can occasionally be too prominent. Not very often, I have to say, I think the principals of the great ballet companies are artists dedicated to the poetry of motion. But the preferred physique (particularly among Russian companies, is it unfair to say?) does seem to be leading in a direction favouring physical spectacle over musicality/movement. I hope productions such as this Sleeping Beauty help to rebalance this.

Last minute decision to see BRB Swan Lake again on Saturday Matinee at the Lowry, again with Gittens and Singleton in the lead roles and Bracewell as Benno. Another fabulous performance, and despite a far smaller audience their appreciation and applause actually seemed stronger at the curtain calls than on opening night when it was packed. I'm not usually a repeat performance-goer but I really enjoyed Wednesday, and better seats were available today so I went for it. This time I made sure I relished the solo passages of Benno (William Bracewell) in Act I, where he performed magnificent flying jetes, and again his quality and presence on the stage was remarkable. I also paid attention to the excellence of Singleton, his controlled power and athleticism is superb - he jumps and lands like a cat. Gittens once more I couldn't fault. Still very intrigued about her treatment of Odille/Odette and can't quite decide which one she might prefer. I must commend her Black Swan fouettes again - perfect, smooth regal spinning which makes them look almost leisurely. Quite different and in many ways preferable to the more frantic efforts one sees in many performances you might see on the internet. By taking them with ease and elegance, she manages to make that coda into more than just a over-the-top party-trick. I also felt once more the thrill of Tchaikovksy's score, even without the dancing, it can give me the shivers. Heard a young lad say to his monther, unprompted, 'that was really good wasn't it?' on leaving, which gave me a bit of hope that classical ballet can maintain an audience and thus its own future. Sometimes when I see the rather sparse audiences, I worry.

Great to hear these reviews coming in and the obvious joy these performances have given. Also very fascinating to hear Lisa had seen the original production with Samsova in the 1980s - wonderful ballet history! I went on the opening night in Salford too with Celine Gittens and Tyrone Singleton, and it fulfilled my expectations - even exceeded, considering it was opening night - if there were any imperfections, I couldn't see them. Janet has already given a review above and I agree completely with all her points. I've wanted to see Gittens dance a lead role since seeing her in Nutcracker (Rose Fairy) and Coppelia (Dawn) in the last year, and her qualities really impressed me. I've seen about 7-8 Swan Lakes live over the years and would have to agree with you Janet that this is my favourite production - well it's hard to do better that Sir Peter Knight isn't it? To add to what Janet has already mentioned, Singelton handled all those spectacular lifts superbly, and in the Black Swan pdd the final lift at the end was a little throw and catch, which just added that extra flair which is so exciting. But actually among the males, it was William Bracewell's dancing which I particularly liked, and I remember his quality shining out in the Coppelia I saw. Gittens delivered a flawless and elegant performance to my eyes. It's so fascinating to see ballerinas take on this split role. She's certainly got that stunning willowy physique which seems to be the modern ideal, particularly for Odette. I liked the fact that in the Act II finale, the diagonal immediately before she does her entrechats was taken at a decent tempo (so often it's slowed down so much that Odette lookes like a glacier moving across the stage). In the black swan pdd she seemed to really intensify her finishes, and as for the fouettes, I don't count but I remember she performed a perfect set, phrased evenly with doubles. Maybe I shouldn't pay so much attention to the 32 fouettes, but it's such an exciting spectacle when it comes off, and I think it's fair to say that Gittens' were among the best I've ever seen. I didn't feel there was an imbalance in the conviction with which she portayed Odile and Odette. Despite seeing so many Swan Lakes, I find it wonderful that I see new things every time (I'd seen BRB Swan Lake at the Lowry in 2012 too), and the princesses in Act III was something I didn't remember last time but certainly noticed this time. The great Elisha Willis was the Hungarian Princess, and I loved the 'Raymonda' style of the solo. Just wanted to mention it was a packed house on opening night which pleased me. I was in upper circle and there were hardly any empty seats, which I don't think I've ever seen before in a ballet at the Lowry. What a privilege it is to see BRB and the Royal Ballet Sinfonia deliver this masterpiece. I thought I might see a some first night wobbles but clean as a whistle from my point of view. Talk about value for money.

Very interesting to read about these performances of Guillem's Life in Progress final tour. I went to see it not in London but at the Birmingham Hippodrome, it was on two nights Tues and Wed 8th and 9th September, I was there on the first of those days. I've been aware of Guillem's fame as a star dancer for many years - before I ever went to a ballet, before I became a classical ballet fan, and had a sort of admiration for her despite the fact I'd seen very little of her dancing. It was probably some television documentary, probably BBC, years ago that ignited this admiration. With the advent of YouTube I was able to see some of her dancing. Like many others I was and am dazzled by her physical facility and charisma. But in fact when I first saw her dancing the classics I thought she lacked warmth and was quite clinical, although spectacular. As I've seen more classical ballet, live and recorded, I've really come to appreciate her artistry and acting ability, so I've changed my mind - she has an exquisite ability to interpret and communicate classical pieces. I'm not yet a contemporary dance fan and haven't taken much interest in her transition to that. Undoubtedly it was the effect of her legendary classical reputation that made me go to see her in Birmingham. I'm still pondering the performances from Guillem and the other dancers in this programme. I cannot say it gave me the thrill and joy that classical ballet gives me, but of course I realise it is a different art form with different aims. Again there was much to admire and respect in the different pieces, but I did watch it all with a curious, analytical eye, most of it did not move me greatly. The first piece Techne by Akram Khan started out with a sense of primal physicality which I thought faded away as it went on. Forsythe's Duo with the two male dancers was my least favourite, the only other work of his I know is In the Middle Somewhat Elevated and I do like that. Duo felt long and lacked excitement, although I heard someone else say it was their favourite as I was leaving the theatre, and I've no doubt it was danced excellently by the performers. I enjoyed Maliphant's Here and After more, it had more of the excitement I didn't feel in Duo, but my main memory is again not being fully engaged with the undoubtedly fine movement on stage. I do remember being moved by Mats Ek's Bye. What I love so much in classical ballet is the mutual enhancement of movement and music (as in the Red Shoes - 'nothing matters but the music!' ) and I felt Beethoven's last sonata really enriched by Guillem's dancing of Ek's choreography, and vice-vera, in that inexplicable and magical way that happens when I watch classical ballet. That pose which Gullem strikes (a photo of which the Guardian has used in Luke Jennings' review), reclining, legs raised, bringing her hand with curling fingers to her face, seemed to perfectly match the music, and I am still seeing in my mind days after the performance. I thought Ek's curt description in the programme was perfect - about a woman entering a room and after a while leaving it, 'ready to join others' - I didn't see it overall as a sad, poignant piece; rather it was hopeful in an unsentimental way, more about progress than farewell. I'm very glad I went. Although we will never see Guillem's like again, and to see her perform a classical role live must have been an experience to treasure, it is a constant source of wonder to me that there are so many brilliant dancers performing today, and all so individual, offering complementary facets of style and facility. Despite her retirement there are still other dancers offering magical performances to be seen on a routine basis all around the country. These thoughts about are just my initial reaction to the pieces. I've changed my taste in other art forms enough to know that I may well change my mind on these pieces, and modern dance in general, in future. I also realise that I'm forever comparing my reaction to that joyful enjoyment I get from ballet, which is perhaps not a fair or sensible way, and a result of my own limitations of perception. I was very interested in Floss' detailed thoughts on ballet style, and would agree in part, I'm not sure about 6 o'clock extensions either. But I'm not sure I'd want the tide to turn, and to reverse technical prowess just for the sake of it. Yes, probably technique is often used as a substitute for communication, and Guillem's dancing probably encouraged this trend, but I do think she had exceptional artistry as well. I've seen Ratmansky's Sleeping Beauty that Floss referred to (I wrote about it in a older thread) with the curtailed extensions and insistence on demi pointe, but again the individual dancer's interpretation and communicative qualities are what I think matters most, in some ways I agree with Guillem's 'just the choreographer' comment, although it's obviously too extreme to be taken 100% seriously. I very much enjoyed reading the thoughts of other who have seen this as well, I would love to hear of any other reviews from the Birmingham performances or elsewhere.

Rather a late contribution to this thread but I saw the Ratmansky Sleeping Beauty last month during American Ballet Theatre's run at the Metropolitain Opera House in New York. I was on holiday there and it is the first time I have been to the Met. I saw two performances on Thurs 11th and Fri 12th June. Aurora/Prince were danced by Sarah Lane/Herman Cornejo and Hee Seo/Cory Stearns respectively on these dates. As previous posters on this thread will already know, this production had significant differences in choreography and design to the sort of Sleeping Beauty regular ballet goers in UK might be familiar with - or one might see on YouTube. Previously I have seen (more than once) Sir Peter Wright's Sleeping Beauty danced by Birmingham Royal Ballet in Salford, which I have come to rather revere as the most perfect production of that ballet imaginable. As Melody's post above remarks, there is in this production some examples of the gymnastics that have filtered into all the classic ballets, with 6 o'clock extensions, grand jetes, and of course those famous balances. Nonetheless, I still find the overall beauty and perfection of Wright's creation quite unsurpassable. Other internet videos I've seen seem very similar to Wright's production, and I thought there was only one way to do Sleeping Beauty, that only a fool would meddle with. So I did came to Ratmansky's production with some prejudice, but I am open to seeing different ideas. And indeed, it was very pleasing to see the modesty of the choreography and the restraint placed on the physical abilities of the dancers. It made the ballet charming, warm. For example, instead of a spectacular arabesque-penchee-kiss in the grand pas de deux, a gentle embrace. Both sets of dancers I saw demonstrated ample proficiency, with radiance and delicacy appropriate to the story. The scale of the ensemble dancing and the brightness and brilliance of the costumes certainly were impressive and made a spectacle itself. It was a most interesting and impressive production that one would have to see many times to appreciate all the different facets. But I must admit that for me it lacked the excitement and thrill that I am used to experiencing in Sleeping Beauty. Perhaps that's just due to being too familiar with the ballet, losing its effect as I see it more often. But some of the modesty in the dancing made it perhaps too subdued. The balances were kept, but all the demi-pointe work at first left me baffled until I read later it was a conscious decision. I kept thinking 'why isn't Aurora doing her chaine turns en pointe, and why are her knees bent?' (I know perhaps this demonstrates pathetic obsession with technique). And although I appreciated the scale of the costumes, in complete honesty I thought some of them garish, making the scene on stage appear slightly like a panto (sorry but that's the best way I can think of describing it). All the adolescent dancers used in the ensembles enhanced this effect (and this made huge ensembles, around 50 dancers in the flower waltz I think). Then there were some other brightly-dressed characters in the wedding celebration like Bluebeard, Mandarin, who didn't do any dancing as far as I recall. In my opinion, the interest and aesthetic appearance of these characters didn't substitute for their lack of performance. So I didn't immediatley love this production but there's certainly much to admire. I've seen some professional reviews that are extremely complimentary. For those that want something different, but not too perverse, this Sleeping Beauty certainly provides that. For conservatives like me, there's enough of the 'classic' Sleeping Beauty to make it worth recommending.

I also saw the opening night at the Lowry with Elisha Willis and Chi Cao, and enjoyed it extremely. I wasn't sure if I would like BRB Coppelia, I have actually seen the ballet staged once before (years ago by an eastern European company) and to be honest it wasn't my most memorable night at the theatre. But with a Sir Peter Wright production and the superb dancers of BRB, how could I have doubted? The Wright productions display a mastery/genius in staging and choreography; and with the wonderful orchestra and some of the finest dancers I have ever seen, it's near on perfection to me. I'd go again to this Coppelia in the same way I would revisit the other great classic ballets. Thanks for your review Don Q Fan, I completely agree about the highlights - and so nice to hear someone echoing my thoughts almost exactly. Bracewell's quality of dance stood out, and his long sequence of elegant fouettes in the Call to Arms were a sight to behold. And yes, Gittens' Italian fouettes - so light and lively and assured, I hesitate to say the best I've ever seen ! I could go on endlessly on other aspects, Chi Cao such a strong dazzling principal man, the beauty of the Prayer variation, the splendid ensemble dancing (my favourite was the Dance of the Hours). When individual spectacles like these are supported by the phenomenal artistic whole of the production, it defines the magic of classical ballet to me. My admiration for Willis' artistry was a large part of my enjoyment, she looked on top form to me - technically and dramatically. The light hopping en pointe, the brilliant turning at speed on diagonals and circles, the extensions and arabesques in the adagios, the comic charm she brought to the role in her acting - she completely convinced me. With this BRB Coppelia, I think I have now seen all the Sir Peter Wright classic productions, Swan Lake, Giselle, Sleeping Beauty, Nutracker. And I've seen Elisha Willis in all but Giselle. I note they're back on Swan Lake in the coming Autumn, and while I'd gladly keep going to see the classics for as long as BRB care to perform them, I do feel ready to explore some non-traditional pieces by BRB now. Enjoy your Saturday at the Lowry Janet, and anyone else who is booked to see Coppelia in the remaining tour dates. Unanimous glowing praise so far on the forum!

Nice to hear some more experiences from the BRB Nutcracker. Katie, I completely agree with you about the set design and sense of childlike joy and wonder it lends to the whole performance. Like you I adored the opening scene when the curtain goes up on the family home all done up for Christmas - took me right back to childhood (which wasn't quite as grand)! I enjoyed the programme notes on the design (the genius of John F MacFarlane). It was also my first trip to the Hippodrome, but I've seen BRB on tour and overall I'd say they do they best productions I've seen (but then, I've never been to Covent Garden). Like you Katie, I want to see BRB again and I'm sure I will. Two Pigeons thanks for the welcome, and thanks for the suggestion (or invite!) that does look like a interesting event. However, I am also thinking of the BRB Coppelia UK tour (at the Lowry, Salford, in March) which is very much more convenient travel-wise for me. Thanks also Two Pigeons for the info about the doll variations. Since the performance I've been reading about the history of the BRB/RB productions by Sir Peter Wright and trying to work out how it has evolved from the original Russian Petipa/Ivanov creation into what I saw last week, all very fascinating stuff. I very much share your admiration for Gittens, when I saw her I thought she had the poise and technique of a principal (but what do I know?). Ribbons it was unlucky that you saw a inferior performance. I think we rightly expect very high standards from ballet companies; after all, the whole point of ballet (to me) is that it is the epitome of dance, and thus it is dreadfully disappointing when it falls short of perfection. While I've only seen BRB a handful of times, they were all brilliant, exquisite performances. But yes, I would expect nothing less.

Thanks for the welcome Ribbons. Sorry to hear you felt let down by some of the performance you saw. Yes, the SPFairy grand pas is so emphatically the jewel in the crown that I can understand that if it is less than perfect it can spoil the experience, especially if you are a regular at the Nuctracker. I am not against letting the junior company have a go at the top roles, but I tend to agree with your point about Saturday night. Was there perhaps a late cast change due to injury? The Nutcracker blew me away when I first saw it, and turned me into a ballet fan. Although now I prefer the other 'Petipa' ballets, I'd go and see this one again. I loved the snowflakes, and I really enjoyed the Clara/Nutcracker pas de deux at the end of Act I. But my favourite remains the Arabian dance. One very minor disappointment is that the BRB performance I saw did not have the vivandiere and solider dolls dance section as the RB version does, instead there was a jack in the box. I've only seen the RB filmed version but I think the choreography for that little section is beyond brilliant.

I saw the BRB Nutcracker this week, with Elisha Willis and Iain Mackay as the Sugar Plum Fairy and Prince, and Laura-Jane Gibson as Clara. My first post on the ballecoforum, and surprised no one else has commented on this production, though I suppose discussion of London performances dominate the board in general. Ian Palmer on the ballet.co.uk site wrote (in 2007) of the Nutcracker performed by BRB :- 'It is widely regarded, and rightly so, as the best Nutcracker in the land.' I had not seen this production before, although the Nutcracker was the first ballet I ever saw (like many people I suppose) - the ENB Derek Deane version in at the London Coliseum the 90s. I have seen other Peter Wright grand classical ballet productions, Sleeping Beauty, Swan Lake, Giselle, and I admire them extremely, so I had high hopes for this one. I would indeed say it's the best I've ever seen, and the other ones I've seen include the current Eagling ENB production and one by San Francisco Ballet (years ago, not sure whose production it was). This BRB Nutcracker really does have effect of a grand masterpiece, as Wright's other productions do. Willis I've seen dance several times and I always look forward to her performances, she did not disappoint. I must say my personal highlight was Celine Gittens as the Rose Fairy. Definitely worth the effort to see this, the run finishes today I believe.