FionaM

Valentino Zucchetti has announced on Instagram that he will perform Mercuzio in this production.  

Ross Freddie Ray is Lord Capulet.  

Rehearsals are are under way in London and will continue in Italy throughout July as Poluninink company including all the above (except Alina) will be on tour in many beautiful venues in Italy performing Fraudulent Smile and Sacre starring Sergei Polunin.  

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On 25/06/2019 at 13:45, maryrosesatonapin said:

There is a good review of Rasputin in this month's 'Dance Europe'.  Mike Dixon writes of Polunin's 'ferocity and passion that defines this as one of the greatest moments of dance seen on any stage this year.'  I'm pleased to see he was also as impressed with the teenage Djordje Kalenic as I was.

I am glad to see this really good review and also that of Graham Watts about Rasputin.  It was a fabulous show.  

On 23/06/2019 at 04:09, redshoesgirl2 said:

not pairs, she is an ice dancer.

Yes an ice dancer (in pairs), same as Torvill & Dean.  Apologies if this is the wrong terminology.  The list of her medals is on Wikipedia - so no misrepresentation.  

I do feel uncomfortable discussing Sergei's Girlfriend’s life.  That’s private - this forum is about dance.  

https://en.m.wikipedia.org/wiki/Elena_Ilinykh

24 minutes ago, Bruce Wall said:

 

Perhaps it is just harking back, Fiona.  Antony Tudor did a celebrated one act R&J in 1943.

https://www.nytimes.com/2008/04/14/arts/dance/14tudo.html

Thank you for this Interesting historical information  - starring Alicia Markova in the premiere I see.  Nothing is ever really new!

I think there is a difference in that the new Kobborg version for Poluninink will be one continuous long act, rather than a traditional ‘40 minute’ one act ballet.  

When do the promotions get announced?

Regarding ‘jobs for life’ from what I see I’d say RB management are doing a better job of managing retirements/moving on these days.  I note the arts management courses that Nehemiah Kish and Federico Bonelli are taking up.  

Although I’m now going to negate that statement, in that I can’t understand why Alexander Campbell wasn’t scheduled to dance either Romeo, Mercutio or even Tybalt in the recent run of R&J - it’s not like he had something else on (guesting elsewhere or whatever) at the time.  Hmmm. Seems a waste of a principal and of his dance career.  We know he’s going to make an excellent presenter and/or manager later on.  But a dancer needs to dance while they still can - such a short time to perform.  

I’d be interested in views on Johan Kobborg’s comments in Dance Europe July edition about this new production being different?  Specifically:

 “the usual dance public expects three-hour productions with all the capes and props” 

“With one, long, continuous act the story can move at a fast pace”.

It seems to me that this really is changing the face of ballet, or at least offering an alternative way of producing ballets, different to the lavish productions and expensive large company structures at the big opera houses.  

22 hours ago, Jan McNulty said:

I went to Verona many years ago to see opera.

 

Are people in the cheaper areas still allowed to light candles?  I was very disappointed that we were in the more expensive seats (it was a trip organised by a gentleman who lived near me and who was a serious opera buff) and could not have candles because our seats were on duck boards and it would have been too much of a fire risk.  It was a magical atmosphere even though I'm not keen on opera.

 

Enjoy your visit!

Yes to the candles 🕯 in the cheap seats on the stone terraces (at least last year).  Such a simple and beautiful effect - terraces glittering against the darkening sky .

5 hours ago, DrewCo said:

I only recently learned through the Atlanta Ballet's Facebook page, that--as I see FionaE also mentions above--Nikolas Gaifullin, one of the very best young dancers at Atlanta Ballet, will be dancing Tybalt in this production.   (Kobborg staged La Sylphide for the company this past season and Gaifullin was one of the dancers cast as James.)

 

I am rather a fan of Gaifullin--have been since seeing him make his debut as Basilio in Don Quixote two seasons ago. I liked his Basilio very much, but I must admit I was particularly charmed when after negotiating an awkward costume snafu, he immediately appeared to put some extra "zing" into his next dance phrase as if to underline for the audience that nothing was going to get in the way of the performance. Since then his dancing continues to be a highlight of the Atlanta Ballet performances I attend.

 

Atlanta Ballet does some good and even very good things, but is not a major ballet company (though they have aspirations to become one), and I imagine Verona will be a very new kind of experience for Gaifullin--but I think he is the real deal and hope he has success with this production.

Thank you for this insight into Nikolas Gaifullin.  I assume Johan Kobborg has recruited Nikolas after staging his La Sylphide at Atlanta Ballet.  

I love his regal bearing as well as his lovely technique.  I am sure he’ll perform an exciting youthful Tybalt in Verona with panache.  His and Johan’s Instagram snippets are tantalising, and I love how grateful Nikolas is for this opportunity.

It’s going to be great!

On 26/06/2019 at 21:43, Jan McNulty said:

Have you booked to go to Verona Fiona?

Yes I have - when it was originally announced.  I’m in row 5.   Booking is through www.ticketone.it.  You can change the language to English and choose your seat on the seating plan.  They have beautiful glossy souvenir invitations that you can have delivered, or stick with digital.  

The arena is enormous - seats 13,000 for the opera/ballet.  I’ve been to operas there before in the cheap seats €35 - that’s the stone terraces.  You need good cushions!  The stage is a long way away but you can see everything and the acoustics are amazing.  Those Romans knew a thing or two about sound waves.  They do have screens to relay the performance (and have subtitles for the opera) and use lighting and projections to enhance the performance.  

The whole thing is an experience in itself - being in this ancient arena with fabulous music surrounding you and open to the sky.  I. highly recommend experience it at least once - and what better excuse than this ballet.  

It will be hot so the performances start at 9pm.  Book an air conditioned hotel / Airbnb and have a shower afterwards!

I haven’t started a new thread before so please bear with me. 

Dance Europe subscribers will see an interesting interview in the July edition with Johan Kobborg (he is always interesting!) on the new Romeo and Juliet he is choreographing for Sergei Polunin and Alina Cojocaru in the main roles for Poluninink company.  The premiere will be in the Arena Di Verona on Monday 26th August and it will be classical ballet (women en pointe, men in tights) we are told, with a modern take.  Intriguing.  

There are frequent updates via twitter/instagram, from Johan mostly, including names of the others in the 24 strong cast including Valentino Zucchetti as Mercutio, Nikolas Gaifullin (principal at Atlanta Ballet) as Tybalt, and Ross Freddie Ray McCaw (role not yet known). 

I’m really looking forward to this unique potentially once in a lifetime event.

10 hours ago, capybara said:

There are times when a personal message is the best way to go. The 'problem' such as there is gets addressed privately, noone is 'accused' on the public forum and none of this kind of 'discussion' needs to take place.

Good suggestion, as one who has batted plenty of negative comments here.

On 11/06/2019 at 20:12, HappyTurk said:

I personally see Bracewell being promoted first. I'm not yet sold on Corrales' artistic presence. So I think he needs a bit more time developing it. 

And they need principals with some height.  Bracewell is taller than Corrales, I think?

16 hours ago, MJW said:

that

3 hours ago, zxDaveM said:

Oh - and doom and gloom lighting. SFB showed how to do nice bright lighting at Sadlers Wells. R&J at ROH seemed to shrink into a bubble surrounded by gloom (Capulet Ball excepted), I don't remember it being that dark before - perhaps we should have a whip round for the electric meter! 😉

 

MJW, I do agree with you, the ROH overdo the gloomy lighting in too many ballets.  R&J was the worst - e.g. not being able to see Lord Capulet when Tybalt dies.  It’s a show - we need to easily see the dancers and sets.  I suggest they rewatch the cinema broadcasts to brighten things up for the audience (we are not all 20 years old with 20/20 vision).  

Other lowlight for me is over-complicated costumes masking the dance.  Anything that makes the dancers shoulders look like they are up ruins the necklines and spaces.  (Macmillan was keen on spaces between parts of the body, I remember from a documentary long ago)

So many brilliant performances from many principals and soloists.  Notably for me, were Anna Rose O’Sullivan, Fumi Kaneko and Marcelino Sambe who have all been given real chances to shine and have done so on each occasion 👏👏👏 

On 05/06/2019 at 08:58, Xandra Newman said:

 

Symphony in C closed the bill, Kaneko replaced Osipova in the 1st Movement and she was absolutely beautiful (she braved dancing her debut earlier, initially planned for today). Great dancing by all dancers involved!

 

So Fumi Kaneko has replaced Osipova in this, and learnt Medusa role in less than a week to replace Akane, all within the last month. I do hope she is promoted to principal.  Matthew Ball was in a similar situation!

1 hour ago, alison said:

But the team competition was a separate one, wasn't it, as I recall, rather than decided on people's individual scores?  It's a new event, so I'm not really sure how it works.

Indeed she personally has a gold Olympic medal (team event) and a bronze Olympic medal (pairs)

https://en.m.wikipedia.org/wiki/Figure_skating_at_the_2014_Winter_Olympics_–_Team_event

Here’s the official trailer

2 hours ago, Estreiiita said:

I just want to add a few words about my impressions from seeing " Romeo and Juliet", evening performance, last Saturday.

    First of all, I liked a lot beautiful design and staging, it was like watching a true life of Verona for centuries ago! The costumes were exquisite! 

As to the dancers -  Natalia Osipova is a great ballerina and great Juliet. She just lived on the scene. I can't say the same about David Hallberg however. To my mind he doesn't suit Romeo physically, nor was his dancing and acting on the same level with Osipova. Actually I was wondering, why does she prefers him to other partners?

   I was quite impressed by Ryoichi Hirano - he created quite a trustworthy image of Tybalt, also James Hay (Mercutio) and Calvin Richardson ( Benvolio) were brilliant.  Out of three harlots, Itziar Mendizabal was especially wonderful, though all three girls actually were great. And what a beautiful mandolin dance - Benjamin Ella is just a balm for the eyes of a ballet lover!

   I left the Covent Garden wishing to come back soon - thanks to the Royal ballet!

   

I agree

10 hours ago, maryrosesatonapin said:

I wouldn't describe it as a 'three act ballet'.  There were two 30-40 minute halves with an interval.  Personally I preferred the first half for various reasons, but it wasn't terribly uneven IMO.

Yes it was only two relatively short Acts.  I would like to see it extended, or another one act ballet added to fill the evening.  

5 hours ago, redshoesgirl2 said:

Elena Ilinykh is polunin's current love. i was wondering if he was going to try to make her into a dancer off the ice. it is rather amusing she is billed in appearances as ice dancing champion in sochi, but actually she and her partner came in third. she is pretty good and very dramatic. but they were not the champions, that would have been the americans davis and white.

Yes, as part of a pair she won the Bronze, (there are no solos in ice dance) but the team she was also part of won Gold.  

Graham Watts has written a review that reflects my experience of the 2 performances of Rasputin that I attended, so I won’t repeat the same details.  

In my opinion, it’s quite an achievement for a 28/29 year old to commission a choreographer, a composer, haute couture costume designer and a set designer plus dancers, with no established company and funding sources, and to bring it to London to a huge venue such as the Palladium.  What an opportunity it has been for all these young talented people to participate in producing such a good show.  They must be feeling ecstatic.  We should applaud the effort and achievement.  Imagine the pressure on Sergei to pull this off.

(By way of contrast I note Matthew Bourne’s new R&J is touring the UK for 3 months getting tweaked, revised and bedded in before appearing in London.)

I wish Team Polunin well for their next venture - Romeo and Juliet with Sergei and Alina Cojocaru in the main roles.  Choreography by Johan Kobborg, who will also play Tybalt, I believe.  In the vast Arena di Verona - how appropriate, ‘in Verona we set our scene’.  The set design ideas are looking interesting already (see Johan’s instagram).

Back to R&J.  I too saw the Osipova / Hallberg performance on Saturday.  Osipova was an outstanding portrayal in all acts.  Hallberg could not match her, until the final odd in the tomb with her supposedly dead body, which was absolutely spectacular and believable.  David Hallberg’s technique does not seem to be what it once was and I thought he was outshone by Hay as Mercutio dramatically, and by Calvin Richardson as Benvolio technically.  

Is Benvolio usually a trainee role for future Romeos?  If so, I’d be excited to see Calvin do it, though he could do with trimming the floppy fringe!  And he is on the tall side.  We know the RB needs some more tall princes..... watch this space!

24 minutes ago, alison said:

 

It's sort of a jump up with both feet together and pointed, two turns in the air (if it's a double), and then land, hopefully cleanly, although frequently fudged, in my experience!  Or something like that, anyway.  I'm sure someone else will be able to give a more technical explanation  

I believe the discussion is about double tours en l’air, which is a man’s jump where he takes off vertically from 5th position, with both legs together, spins twice in the air and lands back neatly into 5th. That’s the theory!   In practice, very few men can actually do it without fudging both the take-off and landing - but as it’s so quick we don’t see it.  Probably the cleanest at the RB at double tours is Marci Sambe.  A very few can attempt triple tours (Polunin, Sarafanov - but they are also fudged).

2 minutes ago, penelopesimpson said:

Okay, I didn't go, but this critique echoes everything I had suspected.  Self-indulgence, fan worship and control disguised as great dancing from a great dancer. It wasn't and he no longer is.  That's it. 

 

Sad doesn't even begin to tap the edges.  If only this mega-gifted young man had had the wit to understand that creative personalities so often need a dose of practical common sense, combined with a work-horse attitude.  He could have had it all for a few years and then, perhaps, gone on to create something that truly did span the bridge between classical ballet and popular dance.  He has ended up failing on all counts and I don't say that as someone addicted to ballet in its strictest sense.  Was there no mentor who could have instilled some self-discipline?  He makes much of his need for independence but this is surely a sham.  He is delivering a watered-down version of what his dancing used to be and presenting it as 'new.'  I am sure there is a marketing term for this but the only one I can think of is fraud.

Did you read Graham Watts’ review?

4 hours ago, maryrosesatonapin said:

My partner chatted to the Australian sound-man who was quite insightful about the experience of working with Polunin (whom he said is really different in person from his public persona) and he said they weren't expecting anything other than scathing reviews.  The Guardian review (with which I largely agreed except that it seemed to want to ignore the finer aspects of the performance) put the reason why in a nutshell:  'A world away from the norms of British ballet.'  Yes, there was very little 'normality'

 

Yes, do not go expecting pointe shoes and men-in-tights.  It is contemporary ballet.  And therefore the focus is not on the shape and placement of his legs etc, but what he can do as a dramatic artist, yet still with tremendous technique.  

There is much talk of the flying push-ups and skating-style layback spins as well as the usual ballet tricks, which he can do so easily.

If you do want to see what good shape/form he is in, I refer you to the recent live performances of Take me to Church and Acteon in Sevastopol (April 2019) and at The Bravo awards in Moscow (March 2019).

Back to Rasputin in which Sergei has commissioned original work (choreography, music, designs, costumes, lighting, etc) so that others can have their talent appreciated.  It will possibly surprise you to hear, that he was extremely humble in curtain calls at the Palladium, always stepping back from the line of participants (dancers as well as collaborators) that in the end the others had to push him forward to accept solo applause.  Despite doing the lion’s share of the dancing. 

Oh, and I loved the music.