Richard LH
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Posts posted by Richard LH
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JohnS it would be great if you could get to see the 5th May performance. It's clearly not an easy journey for you so it would show true dedication!
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I hadn’t seen Akane Takada in a lead role before. I knew she was a beautiful dancer, and she certainly showed that with her superb display of technique, musical interpretation and timing. What I didn’t quite expect was how accomplished she was as a character actor. Her various looks and movements combined to pinpoint, time and again, Manon’s heady, contradictory and complex mixture of innocence, sexuality, passion, vanity, vulnerability, love, cunning, greed, regret and sorrow.
Her bedroom pas de deux with Campbell was so romantic and intense I wondered how she could possibly go off with another man a short time later. But seeing her entrance in Act 2 as the beautifully adorned mistress of a grand and wealthy Monsieur, when all eyes in the room became fixated on her, it somehow seemed to be understandable. She was constantly torn between romance and pleasure, and you could see which influence was pulling her at any moment.
In the novel, Manon suggests to Des Grieux (after she had proposed he took another lover himself, as a substitute for her absence with Monsieur) that, in effect, she thinks it possible to square the circle by compartmentalising where one gives one’s body, and where one gives one’s heart.
Alexander Campbell as Des Grieux brought the similar ferocious dynamic, speed and power to his dancing as he had to his Lescaut, but this time all concentrated on his infatuation with Manon as a lover, rather than as a sister to be exploited. His control and artistry in the early solo, where he expresses his feelings for Manon, was exemplary. He really threw himself into this role (literally at times) and made the partnership work brilliantly. At the end, his repeated gestures imploring the failing Manon to try to escape the swamp with him, to try to become again what she once was, were heartbreaking.
The plaudits here for the amazingly sprightly James Hay are well deserved, along with Yuhui Choe as his elegantly mischievous mistress. And I thought Thomas Whitehead was a very impressive Monsieur (I loved his outfits).
The whole cast, and the orchestra, were again on top form as the beautiful music, scenery, costumes, and dancing combined to present a wickedly decadent, yet very poignant, demonstration of ballet at its finest level. Thanks Royal Ballet for a wonderful evening.
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JohnS so sorry to hear this. I don't suppose it will help you to hear that you missed a fantastic debut performance by Takada and Campbell - just a brilliant, fortuitous partnership. Will try to be more cogent tomorrow .....
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Off to see Takada's Manon debut this evening, with Campbell debuting as Des Grieux. Can't wait ! It will be fascinating to see yet another interpretation of this seductive ballet....
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My better half has just come across this October event and as she is a great fan of Acosta we have taken advantage of the long lead time for bookings. There is little information as to what it will involve but we are hoping for something very special!
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All 3 RB principal ladies were great and I would have liked to see more of the first 2 works rather than extracts - the Takada piece in particular was annoyingly brief. I found Laiderette rather depressing. Not really taken with any of the musical accompaniments to these dances.
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“Olga is considered the number one ballerina in the world right now" - really? and isn't she a principal, rather than a "prima ballerina" ?
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Indeed - Nutcrackeringly eye-watering!
One thing I have noticed (not just for Nuts) is that the various price selection options don't cover every seat, by any means. Some are left grey, whatever price option you select. As far as I can make out, this goes beyond the normal seats that are reserved initially for wheelchair priority (and released later for general use if still avaiable).
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1 hour ago, Lynette H said:
In the links today there is news of more dance programmes on BBC4 in May
http://www.atvtoday.co.uk/113915-bbc/
Thanks Lynette - more dance on TV is to be welcomed.
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Katie Derham's introductory remarks that Viviana Durante has now "created her own ballet company" seems an exaggeration - as Durante acknowledges herself, "I don't have dancers in my company". I would suggest "Viviana Durante Company" is more of a production vehicle than a "ballet company", in the usually understood sense. Incidentally, isn't it rather bad form to advertise the event (on the Viviana Durante website) with reference to Thiago Soares, Lauren Cuthbertson, Francesca Hayward, Yasmine Naghdi, Meaghan Grace Hinkis, Akane Takada and Benjamin Ella without mentioning that they are all Royal Ballet dancers?
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6 hours ago, Odyssey said:
Not forgetting there is Hamilton and Cuthbertson too.
Yes, true ...I was just referring to the casts I would be seeing myself.
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7 hours ago, Richard LH said:
It is also absent from the events calendar for the 19th on the Barbican's What's On page. https://www.barbican.org.uk/whats-on?dates[min]=2018-04-19&dates[max]=2018-04-19
Perhaps the performance on the 18th is being recorded and shown on the 19th (i.e. not "live" but an "encore")?
Or perhaps there is a live streamed performance on the 19th but no audience?
(Now replying to my own posts. SAD!)
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20 minutes ago, aliceinwoolfland said:
Glowing review of Manon which compares Osipova, Nuñez and Hayward:
Wow, what a great review! Each of these 3 ladies are bringing their own superb interpretive and dancing skills to the role. Looking forward even more to seeing how others thrill us now (Takada live, and Lamb at the cinema) ....
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On 4/11/2018 at 13:38, Josephine said:
I had to phone the Barbican Box Office for a different query but asked about this as well. They confirmed that there is no performance of MacMillan: Steps Back in Time on Thursday 19 April.
I have to admit that I'm still confused given the information from their website listing in the link quoted above!
It is also absent from the events calendar for the 19th on the Barbican's What's On page. https://www.barbican.org.uk/whats-on?dates[min]=2018-04-19&dates[max]=2018-04-19
Perhaps the performance on the 18th is being recorded and shown on the 19th (i.e. not "live" but an "encore")?
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8 hours ago, loveclassics said:
....the faults in the story and production: the misogyny, the heavy-handed humour, gratuitous sexual violence and Macmillan's tiresome bordello fetish.
The ballet depicts sordid behaviour by some odious characters, (and is advertised with the customary "contains scenes of an adult nature" warning), but given the story, I don't see its handling as gratuitous. Indeed some commentators have complained about scenes being toned down from the past. When you consider what is commonly portrayed on TV these days (including numerous crime dramas where women are victims), and in films and some plays, Manon is pretty mild, frankly. For me, any distaste about some aspects of the material is far outweighed by the beautiful, moving music alone. Just hearing the Act 1 main entrance theme (Aubade: "Vive amour" from Chérubin) give me goose-bumps. Some of the music is so lovely, and sad, it brings tears to the eyes, and that’s even without the visual interplay of the lovely costumes and settings, the bustle and little vignettes of the various scenes, and of course the fantastic dancing.
Heavy-handed humour? Maybe in a few places, but there are more moments of genuine, well judged humour, as in the drunken dancing by Lescaut, and his mistress, which was handled with great timing and panache by Campbell and Calvert on the first night. And Manon's delightful running jump onto the bed always seems to raise a laugh!
8 hours ago, loveclassics said:Nevertheless I think I will try to see the cinema transmission in May if I can get a ticket
I do hope you can get to see it again, and that you really enjoy it despite your reservations.
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35 minutes ago, bangorballetboy said:
If you want to see POB dancers, it's quite easy to get to Paris.
Provided you have the wherewithal, the time, and France is not on strike....
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Floss I agree totally. Thank you for your thoughtful and detailed post which puts this all much better than I could have done, and with far greater insight.
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3 hours ago, Geoff said:
Not to be a nitpicker Richard LH
I think this is being nitpickery, Geoff. As to "excelIed", bridiem puts it very well, but if you prefer, "all the reviews I have seen of Hayward's classic roles have been very favourable". Aurora included. I haven't seen the one you mention. I don't propose listing all her many "very favourable" reviews here as this would be leading us away from my main point i.e. that there is no inherent reason to think Hayward unsuited for such roles.
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3 hours ago, capybara said:
RichardLH - are you by any chance Francesca Hayward's agent
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I wish !
3 hours ago, capybara said:I don't know for how long you've been watching ballet
About 12 years in all but much more intensively since the end of last year.
3 hours ago, capybara said:when Marianela Nunez was much much younger, a lot of people couldn't understand why she wasn't cast in Swan Lake. But she made a triumphant debut eventually - and look how things are for her now.
Pretty fair! What you have referred to exemplifies that other great dancers don't all get what they (or perhaps we) want straightaway. That's sort of what I have been saying - whilst I'm a bit disappointed, I can understand why Hayward has not yet been cast in Swan Lake - indeed, I have speculated on one or two good reasons why that may be so, to date. For me, those reasons do not include, as a few people seem to suggest, the theory that somehow she is seen as inherently unsuitable for this role (or other classic roles). That's the suggetion I have challenged.
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14 hours ago, HappyTurk said:
All classical roles are not the same. Even if one excels as Aurora (and fits the role), they may not be suited for Swan Lake or La Bayadere, for instance. I find that to be the case for Hayward.
I would be interested to know why you suggest Hayward is not suited for Swan Lake or La Bayadere, which are both classic ballets based on choreography by Marius Petipa, when she has excelled by all accounts in 3 other classics (Sleeping Beauty, Nutcracker, and Giselle) based on the same choreographer (and in the case of Swan Lake and Sleeping Beauty/Nutcracker), the same composer.
Yasmine Naghdi, Francesca Hayward and Olivia Cowley as Swans in Swan Lake © Dave Morgan, courtesy the Royal Opera House.
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14 hours ago, John Mallinson said:
Richard LH those photos shouldn't be posted without a credit.
Certainly, with apologies: Hayward in "classic" roles
1. Francesca Hayward as the Sugar Plum Fairy in 'The Nutcracker' © Alice Pennefather, courtesy of ROH 2016
2. The Sleeping Beauty with Francesca Hayward as Princess Aurora and Alexander Campbell as Prince Florimund © ROH, Bill Cooper, 2017
3. Giselle with Alexander Campbell as Albrecht and Francesca Hayward as Giselle. © ROH, Helen Maybanks 2018
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Very interesting, thanks Floss.
Applying this "unwritten rule" to the earlier discussion (and since Coppelia has not been produced by the RB during her time there as a leading artist), Hayward has already danced (with much acclaim) 3 of these 4 "classic" leading roles. I would be very surprised if she is not cast as the lead in the 4th, Swan Lake, when it is repeated, which could be towards the end of next year, or later in 2019/20. I can't imagine any of the RB hierarchy regarding Hayward, out of all the principals, as somehow unsuited to "classic" roles, as one or two posters seem to imply.
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On 4/8/2018 at 10:24, Sim said:
What a lovely example of how people should totally disagree with each other!
Getting back to the topic of the ballet itself, Buddy and I did at least find some agreement around the word "ponderous"!
The Royal Ballet: Manon, London, March-May 2018
in Performances seen & general discussions
Posted
I didn't see Watson in the role but to me Campbell (his replacement) looked rock steady in this solo. What I particularly liked, though, is the way he acted it. He made the solo a sort of gift of his heart to Manon (Takada) - he kept it right in the context of the story, rather than (as seems to happen in some solos) just perfoming a random presentation of skill to impress the audience.