maryrosesatonapin

1 hour ago, Silke H said:

@alison @Jan McNulty  the file size is indeed too large, "error" message said so.  I guess I'm taking too high a resolution photos  🤷‍♀️

Also, I found that if you've posted a few pics in the past then you run out of allotted space.  It's an ongoing allocation apparently, not just a certain size allowed per post.  Hence I've stopped posting photos here. 

1 hour ago, bridiem said:

I found Soares' Onegin absolutely heartbreaking. Very different to the other Onegins I've seen, and revelatory. In Act I, he isn't cold or arrogant or contemptuous; he's immediately sympathetic towards and attracted to Tatiana, he encourages her to dance with him, and he sees her worth. Only then does he realise that if he allows himself to acknowledge this, he will have to drop his façade, his armour of indifference and boredom that protects him from others and from living a proper life. And that terrifies him and forces him to pull back. The bedroom pas de deux - beautifully performed by both Soares and Mendizabal - is therefore not just Tatiana's dream/fantasy - it's his too. It's how they could have been if he'd had the courage. In Act II, he is constantly drawn to Tatiana and wants to show his love for her, but cannot; he wants to accept and delight in her letter, but cannot; whenever he's tempted to do so, he pulls back. And when he finally tears the letter up, he knows how much he's hurting her and can barely do it; he's full of shame and self-hatred. And the more he loathes himself, the more he pursues Olga and the more atrociously he behaves. He's rejected Tatiana's goodness and love, and he turns to casual cruelty as if to prove to himself that he didn't deserve Tatiana anyway. When Lensky challenges him to the duel, he tries not to go through with it but when Lensky continues to provoke him his pride and anger explode and he carries it through. And then, only then when it's too late, does his façade come down. He sees Tatiana, in effect his conscience, and collapses. The tragedy is his and hers as much as Lensky's (and Olga's). In the final act, Mendizabal's pas de deux with Gremin (Lukas Bjorneboe Braendsrod - excellent, but I do think I prefer an older Gremin) was intensely moving, as we see how Tatiana has found a peaceful and grateful love with her husband. Soares' face as he watched them dance was so full of pain, dismay and grief that it was unbearable. This wasn't him realising his love too late; he'd known it all along, and had lost Tatiana through his own pride and fear. When they finally express their mutual love, the dam bursts for both of them. But it is too late - for him, and for her. And the only way she can convince him of that is to tear up his letter, although it causes her as much pain as it causes him. He finally flees, and Tatiana is left in a state of shocked and agonising turmoil.

 

I agree with @bridiem's reading of the story of tonight's performance (well, last night's now).  Soares portrayed the complexities of Onegin's character with subtlety and feeling, as well as dancing beautifully.  But for me the other stand-out dancer was Hinkis who was delightful as Olga with a lightness and grace that seemed to evade Mendizabal, whom I found to be a good actress but rather stiff and plain dancer. Lukas BB looked very handsome but far too young, and wasn't given much to do.  Donnelly as Lensky was not only very noisy in his landings but technically wobbly - not suited to this part at all. 

The last time I saw this ballet was a couple of decades ago I think... and I didn't much like it then but hoped I would this time.  But although it really looks good in the costumes and scenery department there isn't enough meaty choreography for my taste.  I just didn't understand the audience clapping so many really very ordinary group dances etc and came away very pleased to have been present at Suares' farewell, but otherwise somewhat disappointed.  In future I shall stick to the wonderful operatic version of this great story.

5 hours ago, CCL said:

I thought Anna Rose O’Sullivan was radiant as Olga, and Joseph Sissens a most dashing Lensky. 

I hope it isn't too off-topic to mention an article in this month's Dance Europe magazine, which I found rather touching.  Sissens describes his ballet journey from childhood; he came from a mixed-race family in a Hertfordshire village where he encountered both cruel racism and wonderful generosity.  His mother had no spare money, but he was able to train at Tring thanks to a maximum scholarship.  It was then suggested that he should train at the Royal Ballet School but it seemed out-of-reach financially until a supportive local person offered to pay the fees.  He got a day place but his mother couldn't even afford his travel costs.  She rang the RBS who then offered him a boarding place in the year above - a real challenge as he had so much catching up to do, both dancing-wise and academically, to keep up with the other boys in this higher  year.  But he said this just 'put fire under his belt' and made him work ten times harder.  He mentions Anna Rose O'Sullivan as a fun partner, and they 'feed off each other.'

When I watch young dancers (or not so young) I often wonder about their backstory, and what struggles and adventures they might have had along the way; many of course are far from 'home' and it can't be easy.  I feel such gratitude not only to them for giving us, the audience, such joy, but also to their unsung supporters who have doubtless worked in the background to get them where they are today.

3 hours ago, LinMM said:

I was going to write a review of last nights performance but have just heard that a much loved and inspirational teacher Roger Tully has just died. He was 92 and was still teaching in London just a few weeks ago. His passion for ballet has influenced me since 1974. 
I will write maybe tomorrow as I think it will set me off trying to write about the beauty of these performances right now. 

 

@LinMM - I am so sorry about your sadness.  But what a wonderful and valuable life Roger Tully lead!  What you need now is an uplifting, not-at-all-tragic ballet outing.  Cyber hugs to you.

I've just come back from the cinema screening of this double bill.  I am grateful to those who explained and/or critiqued 'The Cellist' beforehand because it made me go with lowered expectations, which were then exceeded.  I thought Cuthbertson and Sambe were super - really moving (and moved) in their portrayal.  Sambe was a bit like an adorable pet!  The set was fine - not too busy for me - as it added punctuation to the ongoing story and helped to explain where we were.  Maybe it was more intrusive in a live viewing.  I thought Feeney did a good job with the score.  Marston just about stayed on the right side of bathos although I do find her choreography a little gauche at times.  It did feel as though, having been commissioned to produce a work that lasted about an hour, she had stretched it out just a bit more than was necessary.  I rather liked the way the corps were used to fill in background detail - at times it was even amusing (intentionally I hope).  Barenboim, we were told, had asked for someone handsome to dance his part, and he certainly got that wish fulfilled in the elegant Ball.  I didn't envy the ROH cellist, Snell, having to play in du Pre's shadow so to speak - she did a decent job but one's musical memory was haunted by du Pre's unparalleled original renditions.

[As an aside, I once bumped into Jackie, when she was in a wheelchair.  I think it was at the Royal Festival Hall where she was in the next box to us during Barenboim's concert series of Beethoven's piano sonatas.  How he managed to memorise all 32 and play them one after the other is beyond my comprehension.  What a gifted pair they were.]

Dances at a Gathering was delightful - except for the piano accompaniment which at times didn't do justice to Chopin's exquisite score.  I have played most of those pieces myself and at times I cringed.  And what's the name of the presenter who isn't Darcey Bussell?  Not only could she not pronounce Chopin's name correctly, but she didn't even know how to pronounce 'etudes'!!  If I go to another ROH screening I will make sure to avoid the pre-show talk.  But on to the good stuff - the choreography was charming and I particularly loved Bonelli and Nunez' duet during the slow, Polish traditional melody section of the Scherzo (which was actually played decently).  I think Bonelli is having a kind of Indian summer because he's quite amazing lately.  Hayward was very lovely too, and although she had a technically easier solo, Laura Morera's wonderful personality simply shone out during her too-brief section.  All of the dancers were good and really seemed to be enjoying themselves!

Please excuse lack of diacritics above but I am tired and lazy tonight.

 

17 hours ago, Dawnstar said:

I wonder if the films would have worked better for people who are long-term fans of her? I've only seen her dance once before - ENB's Manon last January - so don't have the sort of emotional connection to her that I'm sure people who are big fans of hers would have. I would have much rather had some of the other dancers do other pieces while she was busy changing than the films.

I think that might well be the reason for our disparate views, @Dawnstar 

21 hours ago, Amelia said:

Tonight's "Swan Lake" can be watched here:  https://yadi.sk/i/4w4iYdKqlmsCBg

Thanks for the reminder, @Amelia.  I just spent a luxurious afternoon soaking in the performances of Tissi and Smirnova.  Having seen the BRB version of Swan Lake just two days ago, I couldn't help but mentally compare them.

The Bolshoi corps were far superior (with the exception of the four little swans).  In my opinion Hirata was the better Odette whilst Smirnova excelled as Odile.  The Morales/Hirata magical 'flying' lifts were unrivalled, but Smirnova managed to be wonderfully evil and of course her technique is incredible (no travelling at all during the famous 32).  Tissi, who I believe is not yet a Principal, is one of the apparently endless line of supernaturally handsome male dancers that the Bolshoi seem to produce ad infinitum.  His acting was moving and his dancing graceful and sublime. 

The 'aaah' factor of the mist-filled opening of the BRB final act was lacking in the Bolshoi version, and I preferred the BRB ending.  The Bolshoi finale of Siegfried left kneeling in despair, alone, after the destruction of his beloved, seems somehow incomplete.  But the Bolshoi 'national dances' gains points in my eyes for including the wonderful Russian bride's dance, which is my favourite part of that scene, and I like the way the Evil Genius and the Jester have been given such spectacular solos.  I think the Jester role in particular is a great vehicle for a male dancer whose physique might not fit the 'danseur noble' ideal, yet who is technically brilliant and strong in character acting.

Although some consider Simon Versaladze's designs to be outdated now, I love them - but I also loved BRB's costumes and setting (of similar vintage I believe).  So that was a draw

I don't know why, but in spite of my admiration for the Bolshoi version which is visually stunning and dramatically tight, I felt more moved at the BRB performance.  It isn't fair to compare a film with a live performance, but I did see the Bolshoi Swan Lake live last year and felt the same way - enthralled yet not as moved as I would normally be.

The greatest star of all is Tchaikovsky, whose score sounds as sparkling and fresh now as it did the day it was written.  I never tire of hearing it.

I hope this top hat isn't worn when seated?  That would be most troublesome.

17 minutes ago, Blossom said:

Broadway world review in links today refers to Armand's father as Marguerite's father. Frustratingly incorrect.

 

Without a huge review, M&A is among my favourites when delivered well. I actually didn't think it was at all on Saturday night, but generally I am quite critical of most casts dancing M&A so potentially I am the one with the problem!

 

Having said that, overall, I think it was under-rehearsed or under-coached. While Alina delivered Marguerite's fragility, I just didn't feel her passion for Armand. There was nothing specific I could put my finger on, it makes me wonder who coached the piece and whether they had danced Marguerite before to pass on their insight (think back to the acting notes conveyed by Zenaida Yanowsky in the Swan Lake insight a couple of weeks ago). Was this simply Cojocaru's personal interpretation?

 

I thought Frola was excellent though, despite some wobbles in the scene where they first encounter each other, and he proves that ENB has some strong actor-dancers. Kobborg, on the other hand, was not. I found him rather wooden and as one review suggested, was just going through the motions. Again, this could suggest a missing link in the teaching/coaching of the role. 

 

As usual, lots of varied opinions on the forum and all the better for that   The thing I would say about M&A is that I could sense a huge connection between Marguerite and Armand's father, more than there was with Armand himself.  However the way Alina danced those faltering on-pointe steps was heartbreaking and beautiful to watch.  Wonderful choreography from Ashton at that point.  I agree with @FionaE that Frola's dancing improved as the ballet went on, and also that Kobborg had huge stage presence.  Just because - and remember he is from the Danish tradition - he isn't showy and extreme doesn't mean he doesn't completely inhabit the character he is dancing.  I didn't at all get the feeling he was 'going through the motions'.  But I admit to being a huge fan of his and Cojocaru's going back many years, so maybe I am prejudiced

7 hours ago, Dawnstar said:

Faces involved too much modern writhing around for my taste & having 2 blackouts before the end made it confusing knowing when to applaud. Not having read the programme beforehand, I found the second video fairly baffling. I could have also done without the opening Bach, never having found most chamber music to my taste

Handel, not Bach

Faces was the close-up film of Alana.  I think your mention of 'modern writhing around' refers to 'Journey' and on that I agree, @Dawnstar!

We returned from the Wells tonight with hearts still beating with satisfaction and joy at tonight’s performance. 

First: a musical introduction, a Passacaglia by Handel lusciously performed by the Latvian cellist Margarita Balanas and Norwegian/British Charlie Siem on violin. Throughout the evening there were just three instruments, all played with feeling and brilliance, and it struck me how much better is this arrangement than either a poor orchestra or a recording.  I really enjoyed this piece, partly because Handel is one of my favourite composers and also because it served as a mood-setter, a beautiful overture replacement.

After this, Alina Cojocaru and Johann Kobborg danced ‘Reminiscence’ (choreographed by Tim Rushton).  How good it felt to be watching this pair together again.  Johan may be semi retired as a dancer, but he still has some good moves.  Alina was as breathtaking as ever and, from the first circle, looked about eighteen years old.  This abstract yet eloquent piece was so moving my cheeks became mysteriously moist.

Next came a film which lingered on Cojocaru’s  face and hands.  I was pleased to have this opportunity to focus on her very particular beauty, completely devoid of cosmetics.  Then came ‘Journey’, choreographed by Juliano Nunes who also danced, which had some interesting sequences but was my least favourite part of the evening.  A second short film, ‘Kiev’, recorded Alina’s visit to her ballet school in Kiev of decades before, and touchingly featured her by now very elderly teachers.  The final item on the first half of the programme was the delightful ‘Les Lutins’, choreographed by Kobborg and danced by Cojocaru, Sambé and Tamagawa, all of whom were brilliant.  This was our favourite piece of all, with its humour and virtuosity.

The second half consisted of Ashton’s ‘Marguerite and Armand’ which was beautifully performed by all, especially Frola taking the role of the passionate Armand.  The difficult Liszt score was superbly performed by pianist Sasha Grynyuk.

What an evening!  Cojocaru’s choice of programme was balanced, varied and compelling and I will continue to digest the memory of it for days to come. Before going out this afternoon, I re-read Johan’s programme note about Alina that a forum member kindly shared with us last year:

‘I once met a girl. We weren’t really supposed to meet, but when we did, everything changed…. If ever there was an alignment of lucky stars lined up for me, my Juliet and for us, then this was the moment.’  It was an extremely lucky moment for us, the audience, too.

Four hours’ driving there and three on the way back was a small price to pay to experience BRB’s exquisite ‘Swan Lake’ on their home stage on Friday.  Momoko Hirata and César Morales were every bit as captivating, technically excellent and emotionally eloquent as they had been during their haunting performance in Giselle last autumn.  I have never seen a dancing swan ‘fly’ so convincingly as Hirata, thanks in no small part to Morales’ outstanding partnering – she appeared utterly weightless. At one point my partner was laughing in silent disbelief.  At the interval he explained it was because he had become  convinced that if Siegfried let go of Odette during one of those magnificent high lifts, she would simply go on floating up to the rafters.  She was more like a single feather than a whole bird; her feet touched the floor soundlessly.  As the white swan she was heartbreaking, delicate, yearning; as the black swan she hardened to become flirtatious and exhibitionist.  Her 32 fouettés seemed effortless, although she did travel a lot – the only fault I could find with her the whole evening.  Morales was the epitome of a poet-prince, brooding, wistful, distracted – and then passionate.  The way he held his swan maiden gave an impression of genuine tenderness between them.  The word ‘chemistry’ is often used; here I would say it was something deeper, something beyond desire - true souls meeting and bonding.
 

The staging was really beautiful – the only thing I’d wish were different is that against the dark background, Morales’ dark costume didn’t show off his superb entrechats etc to full advantage.  With a couple of exceptions, the 40 year old costumes looked gorgeous.  The corps had a few ragged moments and were a little noisy, but were generally very lovely; I particularly enjoyed the four little swans who were well-drilled, harmonious and thankfully all the same height – I hate it when they don’t match.  The orchestra sounded rich and the overall experience was a complete delight from beginning to end.
 

My only regret is that I wasn’t organised enough to order flowers – they both deserved them! – and there were none at the final curtain call.  I tried to take photos but an official prevented me, even though it was right at the end of the applause.

I urge anyone who can to seize the opportunity to watch the Morales/Hirata partnership in any roles at all to see them while they are still dancing together; Morales is 41 and although he looks youthful and dances almost flawlessly, he can’t go on forever.

1 hour ago, penelopesimpson said:

I would like to think Kobborg could do choreography for RB.  We have had too many lacklustre efforts in recent years and he is a real and proven talent.

Hear, hear!

I very much enjoyed these performances (except for the unfortunate error) and thought the girl particularly good, and so confident!  I'd love to know her name.

1 hour ago, James said:

 

I am glad you enjoyed the Siberians, Don Q Fan. I have seen this company a number of times in recent years, and I am fairly certain that the dancers you saw as Odette/Odile and Siegfried are actually Anna Fedosova and Yury Kudryavtsev. Unfortunately, the company can be notoriously inaccurate in their cast sheets, if that's what you were going by.

You are quite right, @James.  I just checked the photos of the cast in my own programme (as all the ballets are in one book) and the above pair are indeed Fedosova and Kudryavtsev.

58 minutes ago, Lizbie1 said:

 

...when the Bolshoi or Mariinsky visit, and that's more-or-less unsubsidised. 

I do wonder whether the Russian government subsidise the Bolshoi etc tours as a kind of cultural advert?  I have no knowledge of this, just guesswork....

I saw the Siberian company tonight in 'Sleeping Beauty'.  A pocket Sleeping Beauty really, given the cramped stage at Wimbledon New Theatre and the small company.  I thought  a couple of the girls looked pretty tired (no wonder!  What a hectic schedule they have to follow)  but was pleased to see the theatre was packed, and the audience responsive.

The stand-out performance for me was the Prince, danced by the very young and handsome Italian Marcello Pelizzoni.  He has lovely elegant lines and superb jetés.  His style reminded me somewhat of 'our' dear Muntagirov.  There were a few Italians in the company actually.  Aurora was performed competently by Elena Svinko.  The rest of the company were a bit varied in quality but the story was clearly told so the newcomers to ballet were rapt throughout.  I had a Chinese couple next to me, who really enjoyed their first experience of classical ballet, and on our other side were an elderly Indian couple who audibly 'ooh'd' and 'aaah'd' at the most magical moments.  I didn't mind as it was their first ballet too, they said, and they were thrilled.  So a more mixed audience than one is used to and none the worse for that - I hope ballet gained some converts tonight.

The costumes looked very bright and new, but the colours were somewhat garish, and there was minimal scenery.  However the lighting was used to great effect and the orchestra, although pared down, was excellent - it had a lovely timbre and did Tchaikovsky's beautiful score justice.  All in all a good evening.

A pic can be seen here:  https://www.extraloudpurrs.co.uk/ballet-pictures

22 minutes ago, Blossom said:

Frankly that’s just not fair on those of us who like the same dancers. He should be warned (by the theatres) to zip it unless actually worthy of a bravo/a/i (his command of grammar is obviously there to impress) or face some consequences. ROH can’t be pleased if it’s coming across in live streams which I assume often become DVD versions.

Oh I agree, Blossom - my tongue was firmly in my cheek, but sometimes this doesn't come across on the screen 😉

I know it's not really funny, but this thread has taken a very amusing turn of late!  It seems Mr Bravo attends a great many performances.  Maybe we could, between us, report sightings so as to predict his attendance pattern and avoid accordingly?  Does he favour any particular dancer(s)?  

1 hour ago, annamicro said:

I have already bought my flight ticket: any suggestions on what to visit in the nearby of London? I have 2 days and an half with free evenings.

The Victoria and Albert museum is nearby, and delightful - and free!  I particularly love the section of old musical instruments (very decorative) and also of course the costumes and fabrics.

6 hours ago, LinMM said:

The lead roles were Momoko Hirata and Cesar Morales and I was particularly impressed with Momoko. She was beautiful as Odette with lovely arms and a certain warmth which made her very sympathetic in the role. I don’t recall ever seeing her dance before though she’s been with the Company a while..

Oh LinMM, I'm jealous!  I saw her with Morales in Giselle and can't get the pair of them out of my mind.  She is my favourite female dancer based in England, at the moment.  So glad you enjoyed her too.

Wonderful!  I am suffering from Momoko Hirata withdrawal symptoms.

After nearly two months of strikes, Paris Opera Ballet returned to the stage at last with Giselle on Saturday.  And what an evening it was!
 

Firstly, I should explain that although we had excellent seats seven rows from the front of the stalls, two extremely large (tall and wide) people came and sat in front of us restricting the view of my six foot partner, let alone short dumpy me.  This meant that all I could see for the whole evening was the right and left sides of the stage but nothing in the middle!  It wasn’t a fault of the rake, nor the large people who after all didn’t choose their exceptional size, but it did mean I missed a lot of the action.  So bear that in mind when reading my review.
 

Before the performance began there was a speech from the Union, which elicited a rowdy response from the spectators with some clapping support whilst others booed loudly.  However after this the audience behaved itself very well .  The ballet-starved attendees seemed to be mainly French, with a good number of well-dressed and well-behaved children in spite of the late hour.  In fact I witnessed none of the poor behaviour we have recently discussed on another thread, and the audience showed their sophistication by applauding appropriately throughout but not (as annoys me at other venues) when the star dancers appear, before having even danced one step, and not after every little solo.  (Having said that I plead guilty to what I am criticising in the case of Zakharova, and a couple of others, so I’m a hypocrite.)
 

The dancing was superb.  Honestly, I could not fault either the étoiles nor the corps who were very ‘together’ and homogeneous.  Giselle (Léonore Baulac) was delightfully pretty and seemed full of joy at being back on stage.  At first I found her interpretation a little too ‘cute and playful’ – I always feel terribly sad and serious throughout the whole of Giselle, whereas the first act in Paris had a feeling of light-hearted jollity.  However once she came to the mad scene she was more convincing than any other dancer I’ve seen in the role.  She seemed to age visibly as you watched (an effect of sudden grief I have noticed in real life) and her movements were so authentic that it was difficult to imagine this was the sweet young girl who had been dancing so merrily just minutes before.  Kudos to Baulac for such a powerful transformation.  I realised at that point that she had emphasised the innocent charm earlier in order that the contrast be as dramatic as possible.
 

Germain Louvet danced Albrecht – the embodiment of stylish, entitled aristocracy, he entered with a great flourish and long run from the back of the spacious stage, his cloak flowing out dramatically behind him.  He was a splendid dancer, and I especially appreciated his perfect entrechats (which I have noticed some other male dancers closer to home cheating on a little). Hilarion’s appearance was a bit of a shock to me.  He was a stocky-looking man with an oversized, shiny bald head, and was almost comic in his portrayal.  It was all too clear why Giselle would prefer Albrecht.  However when I looked at the programme I found that the dancer (François Alu) is actually a good-looking chap with a full head of dark curly hair so obviously this portrayal was intended, but it did somewhat remove sympathy for the man who is the real victim of this tragic tale. Myrthe was danced with suitable menace by Hannah O’Neill – in spite of her name she looked Japanese to me, and was a rare exception to most of the dancers who were French-born and trained.

The scenery and lighting were exceptional; for example, during the mime scene where Berthe warns Giselle about the Willis, it is as though the sun goes temporarily behind a cloud and an unnerving atmosphere washes over the stage, sending a shiver down one’s spine. Then, of course, there are the stupendous surroundings of Palais Garnier itself – the statuary, the all-pervading layers of gold leaf, the multiple painted ceilings, the chandeliers… although I have visited many times it never ceases to take my breath away.  You could say that our Royal Opera House looks, in comparison, like a minimalist Scandinavian interior.  I love both buildings in their different ways.

2 hours ago, Fonty said:

 

Sorry, but I had to laugh at your post.  I would have been very upset if I booked to go and then found all the performances were cancelled!  It doesn't exactly make me want to start looking up train tickets on Eurostar. 🙂

Believe me, we are upset (inasmuch as disappointed).  However I understand their reason for striking as the dancers of POB have the kind of pensions that all ballet dancers deserve - dating back to the seventeenth century no less - and they are unwilling to give them up.  

Was it well-attended, Janite?  I just love the publicity poster but wasn't tempted to actually go.