BeauxArts

Is this fact or conjecture? I am not sure the pricing differential can be explained so simplistically. You may be correct but what is your evidence base? 

39 minutes ago, bangorballetboy said:

For the record, I'm not offended in the slightest and I'm looking forward to seeing the opera in which the toys are used as part of the set on Saturday.

I also am not offended. I just

don’t think it is well-conceived or well-judged marketing. 

It is not good marketing and in poor taste. 

How interesting! And Tombeaux! 

Is there scope for people attending the launch to put questions to Kevin O’Hare and his team when the season is announced  officially tomorrow? I suppose the season IS the season full-stop, but the “No Petipa” issue is a very significant misstep, surely,  by one of the world’s leading classical ballet companies. 
 

Any sighting of Tombeaux?

I am in full agreement with the all the praise for this afternoon’s matinee. I loved Momoko Hirata’s expansive dancing and technical command. Chou was an excellent partner and gave a really good account of his solos. I enjoyed the sumptuous  production but would have preferred to see it on a bigger stage which  would probably have done it even more justice. Overall the company look on good form.  A pleasure to see the theatre full for the matinee, albeit I was sitting next to someone eating the world’s biggest and noisiest packet of crisps, opened - with great timing - as the Rose Adagio began…. Perhaps the pre-show announcements can  be expanded to request no photography and no crisp consumption during  the performance….
 

Curiously, I found Francesca H’s Odile more compelling than her tentative Odette. I was quite happy to see her single fouettés which she finished well. Her classical dancing is small-scale, which is not a criticism, but can leave her rather exposed in this kind of demanding role. She had the immense good fortune of an incredibly generous partner in William Bracewell. This is now an excellent role for him, his thoughtful characterisation in play from  the first grudging acknowledgment of  von Rothbart. His solos were well-judged and beautifully danced and his partnering impeccable. I think he and Francesca H do have chemistry,  but probably the MacMillan repertoire is where it finds (and hopefully will find in the future) its fullest expression. Elsewhere, Joonhyuk Jun was a pleasure to watch. The corps were on fine form, despite the demands of a double-show day. 

Hello

i am interested and have sent a PM.

The RB definitely danced Consort Lessons and I would be extremely happy to see that again. Thank you, Alison, for mentioning it!

I would very much like to see Onegin next season. I would be especially happy to see Muntagirov AND Bracewell in the role of Onegin; I think the latter may be an Onegin in the mould of Friedemann Vogel and that would be extremely interesting. I think Leo Dixon as Lensky would be very satisfactory casting. I would be very happy with Kaneko, Heywood and Naghdi in the two lead female roles. I am not going further as do not want to tempt fate .. !!

My great hope is to see Tombeaux in the 2024-2025 but I have very little expectation of it being featured. A tribute to David Bintley is long overdue at the ROH. 

I disagree that the live broadcast catered more for the « in crowd » than newcomers: I think it actually struck a good balance between context for those less familiar with MacMillan (or totally unfamiliar)  and those who already had a reasonable grounding  in his work/experience  of ballet. The variety of interviews - Lady MacMillan, Laura Morera,  Ross MacGibbon, the Benesh Notators, the stager of Different  Drummer, Donald MacLeary and Alessandra Ferri were all impressive, interspersed with rehearsal shots.

Previously, on a different thread, I had disagreed with Capybara who had raised concerns about Darcey as detracting from today’s star/rising star dancers (I paraphrase). I still stand by that view but do feel that the problem unfortunately that Darcey does pose is the « white knuckle ride » of her presenting style, which in fact is a distraction because it is so erratic. Some of her errors were nothing to do with the autocue, which is perplexing.

As to the performance (finally) - I found it a fascinating triple bill which repays more than one  viewing. Danses Concertantes as MacMillan’s first creation is an extraordinary proposition: quirky, technically complex, stimulating but I am not  at present sure how I really feel about it. To be seen again, I think.  I was sorry not to see Vadim but very pleased to see Zuchetti back and looking on good form. Having seen the original cast of  Different Drummer, but not the intervening revivals, I wondered if this cast could bring the emotional heft that the original more mature artists had done (Ferri benefiting I think from their experience in finding depth in the potentially shallow Marie): last night’s cast gave a powerful and compelling  account, with Serrano looking completely at ease besides his Principal colleagues. 
As to Requiem, all the plaudits above are fully deserved. It is a  masterpiece, danced with supreme integrity by all the dancers last night. I have not stopped thinking about it. This work, alongside Song of the Earth and Gloria, should surely be part of a regular rotation of MacMillan’s one act works, as much as any of his full-length pieces. 
 

Lastly, for a live broadcast, surely it is possible to find space to show the cast list on screen? The technology must exist??!!
 

14 minutes ago, Kerfuffle said:

Personally I feel like Marianela really is an international talent  that will be hard to replace, good though some of the young principals might be, it’s a very rare quality that she has. 

Marianela is world famous and a star ballerina, and rightly so, but I cannot agree that her RB colleagues are just « good ». For example, as Capybara mentioned earlier this week, Fumi Kaneko is widely acknowledged now as a world star (see Dance Europe) - she is surely more than good, she is stellar and her  time has come - fortunately for us! 

I miss being able to watch Russian ballet with pleasure. I hope to see them again at some time in the future, when Russia has withdrawn from Ukraine and paid full reparations to that country.  

47 minutes ago, Silver Capricorn said:

Exactly when I first visited the ROH, I was shocked by what the audience brought with them to the auditorium (winter coats, jackets, backpacks...).  Here in Prague, at the National Theater and the State Opera, no one like that would be allowed into the auditorium, everything must be stored in the coat rooms.  The same applies in other European theaters, in Vienna, Berlin, Munich. Spectators also (except tourists) wear formal clothes to the theater, there is no such thing as going to the theater in a sweater and jeans.  The spectators themselves are trying to force their way so that inappropriately dressed people are not allowed into the auditorium.  A visit to the theater is considered a social event here, and people show respect for the theater and the artists by dressing appropriately and behaving appropriately.

i am more troubled by discourteous audience behaviour than what people wear. I have been to the ballet a number of times in Germany and appreciate that many people dress up - seeing traditional  Bavarian dress in Munich was a great pleasure! However, the ROH audience is diverse and people should not - in my view - feel discouraged from attending/intimidated because they don’t fit in sartorially. One of my most enjoyable evenings of late was the first night of the new choreography evening, which was attended by a very eclectic audience, some of whom gave the costumes on stage a run for their money and made the atmosphere quite edgy and fun. 

Interesting. My perception at the ROH has always been that the higher ticket prices correlate to a better view of the stage. I don’t regard proximity to the well-heeled occupants of the Grand Tier as guaranteeing me a better consumer experience! The Upper Slips are modestly priced, have a sub-optimal view but the viewer experience is usually very good because of the calibre of the other nearby audience members, often some of the most knowledgeable people at the ROH. They also don’t audibly unwrap sweets….

I was very happy to access the livestream on Tuesday evening. My experience of using the POP platform was entirely positive - no lagging

! - and I thought the broadcast was well-directed with no left-field camera angles that occasionally beset the ROH broadcasts. I enjoyed the production - Noureeveries included - and thought Park and Marque made a charming couple with both dancing exceptionally well. He has an easy virtuosity and pleasant stage presence: it will be very enjoyable to follow his career. My only slight reservation was that the lead ladies in the Dryades scene lacked warmth - for me  a little “glaciales”, albeit that may be one of the enduring features of the haut Parisian school and style.

Alison: was that a different production from Paris? 

I have looked at the POB ballet catalogue and Fille is not among the works that can be viewed, so that seems to have been accessible only in France but may be added to the catalogue in due course. 

This has been mentioned in earlier posts, but if anyone is interested it is possible to watch the live broadcast of this evening's performance of Don Quichotte with Sae Eun Park and Paul Marque by subscribing via this link https://www.operadeparis.fr/en/info/on-your-screens.   The performance starts at 6.30 pm UK time. 

You can select from 3 different subscription options for Paris Opera Play (POP), including a one-off performance (c. 14 euros) or a monthly subscription (cancellable any time) at 9 euros 90 per month. I have tested the website and I can view all the available April offerings, so this does not seem to require a VPN etc.

Of additional interest perhaps is that the  conductor is Gavriel Heine, last seen at the ROH conducting Swan Lake...

Just out of courtesy, Silver Capricorn, I think the dancer you refer to is the RB’s Principal dancer William Bracewell.

Double doubles are impressive - here is Leonid Sarafanov with a formidable sequence - albeit in class!

https://youtu.be/f6SiF_qqSeA?si=sRYxpsyMqQW0nEmL

I have thought that for some time about Fumi. She is simply sublime. 

Following on from Sebastian’s comment above, in 1983 MacMillan made Valley of Shadows, one of his darkest works, about the Holocaust.  As with Different Drummer Ferri was his muse,  and he was able to draw on the inspirational dramatic dancers in the RB at the time, including Wall, Jeffries, and later in DD Wayne Eagling. As to the programming 40 years ago,  I saw Valley of Shadows on a programme with La Bayadere White Act! Quite a suspension of disbelief required but possibly  an indicator  of a deeper/more challenging  artistic vision for the audience’s experience than we find today. 

The photos are really touching. Thank you.

10 hours ago, capybara said:

 

 

I agree with MAB that bringing anyone else in at this stage is both unnecessary and unfair to the RB dancers who are progressing so well. (Shklyarov is 39 by the way and was a stop-gap partner for Osipova when Hallberg could no longer lift her.)

 

 

 

To the extent it matters, I don't think this is accurate: Hallberg injured his calf/ankle early on in a performance of Giselle with Osipova and Matt Ball stepped in to cover the rest of the performance - to great acclaim. Shklyarov was then invited by Osipova to dance Des Grieux when it became clear Hallberg could not dance the role through injury. At the time Shklyarov was guesting with the RB anyway in Marguerite and Armand. Hallberg subsequently recovered and danced in both Romeo and Juliet with Osipova the following season and I think also Manon (but cannot now recall). . He had also been cast in Swan Lake with Osipova but then Covid struck, and he then moved away into management in Australia. QED: I think he certainly could lift Osipova!

Shklyarov is still dancing at a very high level but is clearly now in the latter stages of his career. It is indeed a shame that in years past when the climate was far more conducive to guests from Russia and vice versa, we did not see more of him in particular with the Royal Ballet.

42 minutes ago, MAB said:

Okay, if this is to turn into 'nominate a foreign star'  If it is not too arrogant a suggestion.

 

Giorgi Potskhishvili

 

 

 

As is known, he has very recently been promoted to principal with DNB but I wonder if that company's repertoire will be enough for him. He reminds me of Irek Mukhamedov when he first danced in the UK with the Bolshoi, in terms of the impact of his dancing - he is extraordinary and there really is no one quite like him dancing in Europe at the moment. 

For my part, I rather think that there are too many principals in the Royal Ballet, some of whom were promoted when they should not have been. This seems to have the effect of everyone dancing everything, whether it really suits them or not. For example, and only my opinion, in the current run of Manon I think there were 4 "core" Des Grieux who should have danced at least 3 performances each, rather than the 8 who have been cast. I agree there will be a natural progression into retirement for possibly 4 (or more) principals in the foreseeable future, but I think no promotions to that rank would not be a bad  thing for the next year. For the men, it is really rewarding to see Ball and Bracewell in their prime, the return of Corrales (hopefully) Clarke and Sambe, with Vadim M, and they are a good indication of the strength of that male rank.