maryrosesatonapin

Thanks for that, @Emeralds. Shrainer danced the SPF in an exemplary way but I still prefer Kaptsova. 

Having seen the Bolshoi Cinema Nutcracker this afternoon I fell to comparing this very different version with that of the Royal Ballet.  I’ve not seen the ENB or BRB Nutcrackers for a good few years so won’t make a comment about them.

Overall, Bolshoi is more spectacular in the choreography (dazzling virtuosity of the principals) and production (boat in the sky, Drosselmeyer flying etc).  Instead of a dance of the mirlitons we had a shepherd and shepherdess with a pet lamb.  I’m not sure what that was about and wasn’t keen.  The initial nutcracker was danced rather than being a model, and this was most enjoyable.  I felt that Masha (Clara) looked too grown-up though – the RB Claras are more convincingly childlike.  And Masha also becomes the sugar plum fairy so it is a much more demanding role.

RB is more ‘cosy’ with homely décor, realistic stage business and a clearer story. I like the ‘long lost nephew’ aspect and the younger Clara.  RB Drosselmeyer is much kinder and more avuncular – the Bolshoi version is rather nightmarish!  But Hoffman’s original story has a darker flavour so maybe that’s more authentic.

Overall: the same glorious music, but why is the choreography so very different?  Is not the original worth preserving?  I much prefer the Bolshoi version of the Sugar Plum Fairy’s dance.  I wish the RB would at least change to that.  But I found the RB version more involving story-wise and apart from the Sugar Plum, prefer Wright’s version.

Poor Tchaikovsky never lived to see the success this ballet would enjoy, and in fact was in a state of sorrow  when he wrote the music, due to the death of his beloved sister – but you’d never guess that, would you?

Having seen the Bolshoi version at the cinema this afternoon, I note that their Chinese dancers are actually wind-up toys.  I'm not sure whether that makes it more or less racist, but they were very charming and danced brilliantly!

4 hours ago, Naomi M said:

  ....  I think there will be more streamings. 

I do hope so!

1 hour ago, Tango Dancer said:

 

Yes it's never occurred me to as being like a concubine passed between leering men.  I always assumed she was a queen and they were her courtiers paying tribute.  That said it's been ages since I've seen Nutcracker and I can't remember having seen the ENB version at all. 

 

I must say I really like Bolshoi version here which has some lovely classical Indian dance elements.  It's not particularly Arabian (speaking as someone who does Egyptian dance) but I love the choreography they've used.  I should say none of the "Arabian" dances any of the ballets do are in any way similar to what someone in Egypt or North Africa or Turkey would dance (speaking as a bellydance student of 10 years experience).  

 

 

I like this one - it seems reminiscent of Shiva.

Interestingly, the beautiful music accompanying this controversial Arabian dance is actually a Georgian lullaby, not from the Middle East. It was the furthest east that Tchaikovsky's musical knowledge extended.

 

4 hours ago, oncnp said:

 

Thank you for posting because it made me look up this BBC iPlayer - The Sweet Makers - Christmas

 

they discuss sugar plums about 7 minutes in. 

And one of those confectioners looks as though he could be Stephen McRae's twin brother!

Not related to dance, but I found this Wiki excerpt interesting and thought you might too:

'A cookbook from 1609, Delights for Ladies, describes boiling fruits with sugar as “the most kindly way to preserve plums.” The term sugar plum was applied to a wide variety of candied fruits, nuts, and roots by the 16th century.

The term sugar plum came into general usage in the 17th century. During that time, adding layers of sweet which give sugar plums and comfits their hard shell was done through a slow and labor-intensive process called panning. Before mechanization of the process, it often took several days, and thus the sugar plum was largely a luxury product. In fact, in the 18th century the word plum became British slang for a large pile of money or a bribe. However, by the 1860s manufacturers were using steam heat and mechanized rotating pans, and it was then available for mass consumption.'

12 minutes ago, Rob S said:

And I’ll not forget their Romeo and Juliet (which provided me with one of my favourite pics) 

 

 

Absolutely beautiful, @Rob S!  They look as though they are floating here.

I don't think I have ever seen Lamb/Muntagirov as dancing partners but now I wish I could!  I think they would be very well-matched in style and appearance/build.

Oh gosh yes, I see what you mean.  I didn't notice the video at first.  That's really atmospheric!

Yes, I bought tickets without knowing the casting but I am sure all the casts will be good.

I didn't go so was interested to read this account - it sounds like a mixture of excellent dancing and disappointing production decisions.  Re covid transmission - wouldn't a lot of extra children running around on stage just make that worse?

@Jan McNulty's mention of snow being projected into the auditorium intrigued me although I can't quite imagine it!

13 minutes ago, bridiem said:

 

There must be huge private support/sponsorship behind this production. And I just wonder what the point is when so few people will ever see it on the current model.

There are eight individual 'donors' listed in the programme.  I know nothing from 'behind the scenes' but suspect there is no other sponsorship.  Sponsors are usually keen to be advertised as such (cf the very visible support to the RB - both from wealthy individuals and upmarket companies.) I believe the ticket prices reflect the actual cost of staging the production, which must be huge - hence the need for a large venue to gain as large an audience as possible per night.

As for 'what the point is' - are you suggesting that when 'only' a few thousand people see something that makes it pointless?

If it's wrong of me to start up this topic, moderators please remove!  But I noticed that several mentions of 'Raymonda' have been made within the 'Giselle' thread and I know that many of us will be looking forward to this production with great excitement.  So I thought maybe we could share our information and general enthusiasm a bit beforehand?  The first performance is on 13 January 2022.

I think this is a very bold and exciting venture for ENB and I very much hope all the investment of time, money and artistic enterprise pays off.  It's quite long.  Something for a dancer, and an audience, to get their metaphorical teeth into.  I love the way Rojo has slightly updated the scenario whilst not making it horribly modern; this is the reactionary in me writing!  What I mean is - the costumes are still visually interesting, even beautiful, not monochrome leotards.  And the updated story sounds worthwhile and intriguing.  I am already looking forward to January.

We both remarked on that, @FionaE.  I actually think Alina lifted him.  I know it sounds incredible.  And I agree it was incredibly moving and dramatic. 

2 hours ago, Sim said:

I think you mean Kobborg.... 

 

Crikey yes!  Thanks Sim

Thanks Anna!  Still looks white to me.  Maybe I need a trip to the optician!

3 hours ago, Anna C said:

 

I’d say the dresses are ivory? They’re definitely not bright/pure white.

Tights and pointe shoes for most of the Wilis are standard pale “ballet pink”.“Pink” ballet tights vary a lot in shade from pale peach to very pale pink, depending on make.

I've been under an illusion all my life then!  To me the whole outfit looked white (as you say, ivory not bright white).  I guess I'll have a long while to wait before seeing Giselle again and correcting my view

5 minutes ago, art_enthusiast said:

I suppose there might be a DVD/recording of Alina Cojocaru's version somewhere?

Yes - I just checked and there is one on Amazon.  (Not that I like Amazon but it was quick to have a look there!)

On 07/12/2021 at 00:43, Ivy Lin said:

I purchased the Royal Ballet stream with Yasmine Naghdi and Matthew Ball and have to say I was a bit disappointed with Naghdi. She danced beautifully, but I don't think she's a "natural" Giselle the way, say, Alina Cojocaru was. There's something very strong and almost queenly about her. I also didn't like that her hair was down the entire first act. 

I also began watching the stream but with the moving performance from Morera/Bonelli so fresh in my mind, and further back ethereal Hayward and amazing Osipova, I found it disappointing so gave up.  I'll go back to it before time runs out.  It isn't fair to compare recordings with live performances, I tell myself.  I do agree about Cojocaru - she was just about perfect and would probably still be able to dance the role of Giselle as well as anyone could.  Remembering her dancing with Kobbold as Albrecht almost brings tears to my eyes as I write.

On 07/12/2021 at 00:01, Rob S said:

 it's not as if the Wilis wear white costumes

Do they not?  The dresses, and tights, looked white to me.  Maybe my eyes are failing!

8 minutes ago, emmarose said:

 

Would it not look odd though? The arms and face and chest being one colour and the legs a completely different one?

But all the dancers had a different colour on their legs.  To me, tights and shoes are garments the same as their dresses.  However I did think @art_enthusiast's comment above 'I think that by allowing the tonal tights/shoes, a firm statement of support for racial diversity was made, whether intentional or not. This added to my enjoyment of the performance' was excellent and realise that putting up with a slight lack of uniformity is well worth it if it helps people of all colours to feel included in ballet (whether on stage or in the audience).

I have only seen two comments on this thread that could be considered offensive.  One was by me in response to @prs59’s statement that a more professional production could be seen at a village hall for £10, and I swiftly apologised for have inappropriately expressed my irritation at what I still maintain was a very insulting remark about the production.

The second offensive comment, which had no purpose other than to be hurtful, was made by one of the moderators themselves - @bangorballetboy said to @FionaE: 'You could also try counting the “likes”. It won’t take very long.'

I don’t suppose he will get an admonishment but he deserves one.  That was just plain nasty.  I don’t know @FionaE personally, and I can see she is ultra-enthusiastic about Polunin, but that doesn’t mean she should be victimised.  She often gives us interesting information, and if you don’t like her posts then just ignore them.
 

Having said that, if it appears that a link goes to a possible copyright infringement then of course the Mods have to take action and I thank them for the hard work that most of them put into the running of this forum.
 

I’m going to leave this thread alone now – it’s becoming toxic.

I noticed how delightful a dancer Marianna Tsembenhoi was in several performances - she just has that extra sparkle in every movement.  Having said that, I was puzzled by the logic of her wearing brown/tan tights and shoes as a Wili (they toned in well when she wearing the peasant girl's costume, though).  All the Wilis except for her were wearing white shoes and white tights, and like @Fonty I did find them distracting in the second act.  The reason I use the word 'puzzled' is that none of the dancers have naturally white legs or feet; just various shades of pink or tan.  But they are Wilis so have ghostly-coloured garments: dress, tights and shoes.  I would hate for ballerinas to have to disguise their true skin colour on their arms and faces, but for the sake of the corps aesthetic I would have preferred white tights and shoes throughout.