Richard LH

and we are invited to post our own reactions here.... http://www.roh.org.uk/news/your-reaction-what-did-you-think-of-swan-lake

I cannot compete with MRR's earlier cool technical analysis; all I know that the opening night of Liam Scarlett's new Swan Lake was one of the loveliest things I have ever seen. Some of the lasting impressions of a really special evening… A wonderfully lit brief prologue, dramatically setting the scene for what was to follow. Revelation of the castle grounds scene – transfixing, and then throughout Act 1 the whole staging, the movement, and the music - so beautiful I just sat there with a stupid grin on my face. My first live Nunez performance – so controlled and consummate, with Muntagirov such a great partner for her. Super bonus – watching the three amigos (Campbell, Takada and Hayward), all given prominent roles, dancing to perfection. Exquisite skill, warmth, and joy in dancing from all three, and more great characterisation throughout the production from Campbell. Opening of Act 3 – the spontaneous thrilled applause, for the fantastic set. Then the equally fantastic costumes for the whole cast. The applause after the challenging solo dancing – not the done thing, of course, but when Nunez knocked out the fouettés with such apparent ease, sort of saying "there you go !" I don’t think the audience could help itself, and the same with Muntagoriv’s brilliant turns straight after ( - a sort of “anything you can do” moment). The corps of swans in Acts II and IV – such beautiful perfection in synchronised movement and posture. The curtain calls, to a lengthy standing ovation, and framed by a seemingly endless rain of flowers from on high…. a mixture of shared exhilaration, grateful thanks and no doubt relief all round. Hayward glancing across at Nunez, looking so pleased for her. And the lovely hugs between Nunez and Muntagirov …

Something I don't understand about Swan Lake in general....if Siegfried swears his loyal and undying love to Odette here, how come the spell isn't broken? She stills turns back into a swan at dawn at the end of Act II.

Pretty sure it was Stock in the Prologue.

Well, he can always catch up with her later.....just the rest of his lifetime with Odile to put up with first !

An absolute triumph....so pleased for Liam Scarlett. Stage filled with flowers after the elusive Standing Ovation..brilliant staging, lighting, costumes, music.....and sublime dancing.... need to calm down now!

I thought I would posting to express my envy and to wish you all a fantastic opening night, but Unexpected Returns + Mad Impulse + Credit Card = Just got two last minute tickets for tomorrow night! So we can join in the excitement...!! Then Takada and Bracewell on Saturday....good times....

I saw this at the local cinema (recorded) last night. I agree with all the "painful, muddled, dark, depressing" etc. comments above. I couldn't feel empathy for the roles - they were caricatures rather than developed characters, and mostly unnecessary and unappealing caricatures at that. Much of the choreography (when there was actual dancing) seemed more akin to Cinderella the pantomine than Cinderella the ballet. But unfunny pantomine- highly over-acted and clichéd. I couldn't get what sort of person Cinderella is meant to be in this production. I suspect this is much more the fault of the production itself, rather than Ashley Shaw, who looks very talented.

I agree it looks great! I just think it rather contrasts with her outer cloak in terms of the colour, and the extent of material; but perhaps I am reading too much into this, and I will completely defer to others on how desirable it would be to wear it!

Alison yes I am sure you are correct about the necklace/collar. She loved the thought of being beautifully adorned, and being rich, but at the same time is conflicted with the freedom and passion she will be giving up - a conflict she shows again when she touches Des Grieux's bed longingly, just before leaving with M. G. M. But she thinks she can manage the conflict - as I posted earlier, in the novel it is made clear that Manon believes she can compartmentalise giving away her body, and giving away her heart. Towards the end of Act 2 it is the bracelet that symbolises either the pathway to a comfortable life, as Manon would wish - (riches gained from selling her body, yet still available to be displayed, and even enjoyed, in the company of her lover) - or , as Des Grieux sees it, the awful contraint of her being in another's ownership. Hayward and Bonelli played this out powerfully and I found Hayward's portrayal of the changing dynamics in this part especially moving. Another contrast that struck me was that between the grand fur-lined cloak worn by Manon as she makes her striking entrance in Act 2, and the rather less spectacular black dress revealed beneath. Perhaps there is a symbol here of outer apparent glory but inner darkness...?

Sorry to hear that you won't see her in that cast...no idea which cast(s) she will be joining, I suppose?

I found the curtain calls extremely touching and am delighted that bangorballetboy has posted fabulous photos on Instagram (again) which capture those moments. I agree JohnS, I didn't see any lack of rapport between them at the curtain calls. I don't think Hayward could have danced so well if she did not have, and feel, true chemistry with her partner. She has just given him first mention and praise on her Instagram page.

I find that the above Emoji, picked on my tablet yesterday on the train home, comes out looking different on the PC. On the tablet I can't see a written description of Emojis and I thought I had picked something like "Happy And Shedding A Tear" - not, as the PC has it, "Smiling Face With Open Mouth And Cold Sweat" ! Learning point for the day is not to rely on technological short cuts as a lazy way to describe your feelings! I am so pleased that posters here loved this performance so much, and it certainly went down a storm in the ROH. All the cast were tremendous and as other have said, Campbell seems to be on amazing form at the moment in whatever role. Calvert too. Thinking of another thread, I was wondering of this was to be one of the rare "standing ovation" occasions - apparently not, so I am not sure when that would ever be ! - perhaps only a farewell performance from a much loved principal. It is difficult to know how to usefully add to the praise for Hayward's performances. Her beautiful, flowing, agile dancing style is now a "given" but deserves yet another mention, considering how much hard work she must have put into presenting, as effortless, what is extremely complex and difficult, both in terms of technique, and characterisation. One special moment for me was during her first PDD when you could see the surprise and joy entering her face and her dancing as she suddenly discovered the thrill of being with Des Grieux. And then several moments during Act 2 as her delight in being the centre of attention, and being courted by numerous men, becomes increasingly pierced with doubts as she keeps encountering Des Grieux. And then towards the end of Act 2 when she was trying to tease Des Grieux (and I think convince herself) into believing she could have both his love and the rewards (bracelet) from other liaisons - and her shock in his rejection of that. Just brilliant.

Just witnessed a sublime performance by Francesca Hayward in her last Manon this run.....😅

Agreed, and I liked the way he wasn't afraid to demonstrate the movements himself to explain what he was looking for.

On the live rehearsal just now didn't Kristen McNally say the Live Cinema was on 01 June? I thought it was the 12th....

RuthE, and ninamargaret, I am no technical expert but if you have a tablet or laptop there are often ways to use that to cast or mirror the content on to a smart TV - either via a hard wire (HDMI cable) or wirelessly. You might like to check your TV /laptop manuals and the relevant settings needed.

Yes I didn't enjoy the lengthy time spent discussing, and lingering on the scenes of, sexual violence in The Invitation and The Judas Tree. It didn't exactly encourage me to want to see either of those! Despite the quite touching family-related parts, and some lovely dancing sequences, to me it all portrayed a slightly depressing impression of Macmillan, when really I would have hoped for something more uplifting, given his wonderful choreography and production values in other works. Also, all the “talking heads” of dancers were those who had retired, or at least pretty close to doing so, and it would have been good to include some current virtuosi giving their views as to the ongoing relevance of Macmillan’s work today and their enjoyment in performing it.

Early in her career she appears in Limen (2009) in one the compliations - I don't know the role. Similarly she appears in "Monotones" on an Ashton Celebration DVD which I haven't seen either. She also appears as Zulme on the 2014 Giselle DVD. It is really he lack of recorded appearances, as Principals, of these younger dancers that I have tried to draw attention to....probably now to the point of tedium !

Lamb was also in Mayerling 2009 and has been featured on compilation DVDs in Les Patineurs, Elite Syncopations, Chroma, Limen, and Afternoon of a Faun. As for younger principals, as far as I am aware, Takada, Hayward and Naghdi have only been featured on 1 DVD between them (Hayward as Clara in the Nutcracker - Hayward also featured, of course, on the BBC Nutcracker documentary about her SPF debut). Balletfanp given the above, and also what I felt as to the relative strengths of performances of Manon I have seen, yes I do think, personally, that another cast would have been preferable for the filming, and I would like some greater variety in the future. I am just a bit surprised you felt that expressing an opinion like that is a step too far, and mean spirited, when posting in response to the ROH's invitation to comment on their filmed production. Anyhoo...

Yes indeed....but with only 12 days to go I am now wondering 1) will McRae actually be dancing this, after his long absence through injury and 2) when are we likely to be informed of other cast members, in all the performances....(unless I have missed something, only the two main roles have been announced to date) ?? 🤔

So glad you enjoyed this performance Jan...a great review.

Thanks Mary!

I think I am the poster you are referring to. I would argue for other younger RB Principals to be chosen more in filmings and DVDs not just because I personally enjoy their work but because it seems to me the choice of filmed Principals is limited to a select, longer established, few. We have discussed this on balletcoforum. What I posted on the ROH site was "can I put in a plea for other younger RB Principals to be shown in filmings/DVDs? In this run of Manon, for example, Hayward/ Bonelli, and Takada/Campbell, have been widely and hugely praised and I don't think I am alone in having enjoyed their performances much more than Lamb/ Muntagirov who seemed to take until Act 3 to really catch fire".The RB specifically asked for our views on this live cinema performance of Manon and I don't think I have been unduly negative or mean spirited, in my response. Nor do I think mine is a wholly unique view, based on other comments on balletcoforum, but even if it was, what does that matter ? - it's just my opinion. Of course you and others can disagree, or agree. That is what discussion forums are for.

To say what's in the quotes would be pure hyperbole, of little merit, because no-one can possibly have seen every dancer's past interpretation of a particular role (as well as having foresight as to future performances), and because it excludes others' opinions about essentially subjective responses to different dancers. But it must be perfectly valid to say "I saw A/B in X and I thought they surpassed everyone I have seen in that role" especially if reasons are given.