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Jamesrhblack

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  1. Jamesrhblack
    I enjoyed Coppelia last night, although I don’t think it’s a ballet I would rush to see again. The score is absolutely glorious (and etched into my consciousness since childhood) and it’s interesting to see the influence that I am sure the Act 1 Pas de deux with ensemble had on Ashton for the Cornfield ensemble in La Fille mal gardée, but I find the scenario a bit thin and remain uneasy (as I was seeing the broadcast) at the dramaturgy in Act 2. I liked Bennet Gartside’s Dr Coppelius, more serious, more sinister, and, perhaps surprisingly, more touching than Gary Avis’ performance (I appreciate that is probably heresy), even if the character completely fades from view in Act 3. I also thought Alexander Campbell ideally suited. There’s not a lot of meat on Franz’s dancing bones, but as character (cheeky yet charming), partner (delightfully attentive) and soloist (briefly but impressively virtuoso with double tours to left and right) I can’t see that he could be faulted. Now for more heresy. I admire Laura Morera very much as a dance actress, and her Mary Vetsera is one of the most memorable performances I have enjoyed. However, I don’t find that her dance style haunts my imagination (think of, for example, Cuthbertson’s floating musicality in the Vision Scene of Beauty, Hayward’s epaulement, the impossibility of Naghdi making anything but a ravishing movement, or Nunez’s assured grandeur in full flow) and for all the neatness of detail and charm of her characterisation I thought last night brought home why she isn’t often seen in classical roles. That lack, for me, of sheer dance magic was brought home when Anna Rose O’Sullivan took to the stage as Aurora. May I emphasise that I mean no disrespect to a much loved dancer who I have admired very much in other repertoire and who I hope to have pleasure of seeing for some seasons more.
  2. Jamesrhblack
    Very London-centric... New works Dust Woolf Works Performances Giselle - Osipova, Acosta Manon - Yanowsky, Bolle, Acosta Mayerling - Bonelli, Morera, Cowley Dancers who really touched me in individual performances... Galeazzi Hayward Naghdi Campbell Hallberg Streeter
  3. Jamesrhblack
    I very much enjoyed the Fonteyn Gala, The Firebird Triple Bill and The Bright Stream, but, for one performance only, am with Janet: the Hayward/Campbell/Corrales/Magri Manon.
  4. Jamesrhblack
    I enjoyed catching up with the broadcast yesterday of a ballet I think I’ve seen once 40 years ago. I’d forgotten how absolutely glorious Delibes’ score is, with not one dull number. I’m not notably politically correct but I did surprise myself by having a slight issue with the central plot premise, involving illegal entry and destruction of property. I’d also agree the poster who wrote of the “mature sheen” of Nunez’s dancing. I think there was an element of that even in her younger days and however brilliantly and beautifully danced I didn’t find Swanilda a natural fit for her, with without an ‘h.’ Goodness knows what I’ll think to Morera who I’ve booked to see as I wanted to see Campbell as Franz (and I couldn’t catch his Hayward dates after the casting changed). Muntagirov exuded boyish charm and enthusiasm and danced up a storm whilst, at the risk of seeming heretical, I think there is a more sinister yet more touching Dr Coppelius to be found than the splendid Gary Avis offers in this. A particular pleasure was to see Buvoli. Her long lines, musical response and serene presence seemed ideally fitted to Prayer and I understand she was beautiful in Enigma Variations too. There is a thread to be considered on why opportunities have been so long coming to dancers such as her and (an even longer wait) Romany Pajdak, since when those opportunities arise they are taken so very beautifully. Nevertheless, I enjoyed very much, above all for the music.
  5. Jamesrhblack
    Is this the first time somebody has appeared as Carabosse, Lilac Fairy and Florine in the same season? I think Alfreda Thorogood did Carabosse and Florine (although she didn’t dance Aurora very often). I think Itziar Mendizabal is a most interesting dancer and am not sure that the Royal Ballet has always got the best out of her very particular talents. She reminds me very much in her strength of technique and personality of Dame Monica Mason and I hope that she may yet make Principal, albeit at a Character Artist level.
  6. Jamesrhblack
    I really dislike it when the ballerina ignores the choreography to hold a longer balance. One of the things I loved about Naghdi last time (haven’t seen her this time) was that she balanced exactly in accord with the music cue so there was an organic inevitability between choreography and music that was much more satisfying than any technical stunt.
  7. Jamesrhblack
    It's my favourite part of the ballet and the 'cello solo is so exquisite. We read things in different ways and I thought your interpretation of Aurora's beckoning as being a request to be released from her spell very apt: I'd always seen as it as a slightly seductive moment (like Giselle caught up by her dancing in Act 2 urging Albrecht to join her) but I like your idea too. Maybe it's a bit of both. I also find very touching the way that Florimund has to be "taught" not to be too impetuous in his approach but to let Aurora trust and come to him.
  8. Jamesrhblack
    I didn’t see the Insights when Dame Beryl Grey apparently jumped up and joined in but it did strike we watching this Insight on Beauty that although Samantha Raine worked very technically with the dancers there seemed to be no input at an artistic level to help define the nature of the solo. This struck me as odd ...
  9. Jamesrhblack
    It’s interesting to see the critic voicing so directly things that I’d be cautious of posting. It really wasn’t a good evening ...
  10. Jamesrhblack
    I’ll try. It just seemed as if he turned rather more than usual towards her and it didn’t look as seamless as in other partnerships I’ve seen. It was if once she began the pirouette he stopped towards her facing her and then got in to the final position. He did manage a pretty triumphant one armed lift before the final fish dive though (that’s the one at body level not over head obviously)....
  11. Jamesrhblack
    Well, the second act of Beauty is probably my favourite and that I thought was very beautiful, Osipova remote but alluring (and noiseless on what seemed much tidier pointe shoes than she used to wear) and Hallberg, long lined and elegant in the Dowell solo. I’ve defended him in the past but I’d have to concede he was pretty shirking tonight even with the limited partnering Prince Florimund has and there seemed to be an odd compromise in the fish dives with him turning to face her to help get her in to position. I’ve not explained it well but I thought it looked awkward. Overall, I found it a rather muted, disappointing performance (it must be the first time I’ve actually found The White Cat - a deliciously sophisticated Ashley Dean - a highlight), although the audience seemed enthusiastic at the end.
  12. Jamesrhblack
    I often find Osipova fascinating, magnetic; occasionally wilful. Didn’t like that Act One at all: very strange things going on with her hands, an unexpected impression of running out of steam at the end of the solo; and I don’t think this is a ballet in which trying to be overly naturalistic works. Will be interesting to see if Hallberg can settle her ...
  13. Jamesrhblack
    Does anyone know what happened at the end of the Prologue coda? Only Five Cavaliers and Hinkis was absent sneaking back on round the cradle as Carabosse arrived. And I didn’t think Sissens was back at the end ....
  14. Jamesrhblack
    At last night’s premiere of Orphée at ENO, a sign appeared above the stage stating that we were welcome to film the curtain call!
  15. Jamesrhblack
    Gosh, they keep the lovely Miss Pajdak busy ....
  16. Jamesrhblack
    And the Carabosse....
  17. Jamesrhblack
    Goodness the dancers work hard. I’m surprised there aren’t even more injuries. Very sorry that Cowley, who is one of favourite artists, is off but I bet Mendizabal was a fantastic Carabosse. That’s been one of my “I wish” castings too.
  18. Jamesrhblack
    It was always a treat when he danced Ashton's Pas de Quatre in Swan Lake. If I recall correctly, he did do some performances as Hamlet...
  19. Jamesrhblack
    Sorry, Dawnstar, crossed in cyberspace ...
  20. Jamesrhblack
    Hi, it was Romany Pajdak. It stated Olivia Cowley on the Cast Sheet but it was definitely Ms Pajdak and her name appeared on the credits at the end.
  21. Jamesrhblack
    One really shouldn't speculate but this all seems very sudden and strange ...
  22. Jamesrhblack
    Enjoyed the cinema broadcast very much, particularly as I'd not felt well on Saturday afternoon and hadn't been as involved as I'd hoped i might have been in the performance. Of course, one will have preferences (I'd have had Hayward with Hay in Concerto for a start and felt O'Sullivan was being ever so slightly "cute to camera"), but Naghdi was sublime (and I liked Hirano in this), whilst Magri made something almost impossible look almost easy. Lovely to see the splendid Kate Shipway interviewed and receiving a well deserved bouquet after Concerto too. Enigma Variations works well on screen, with added detail. I still feel the tone of the work can seem uncertain and need to revisit my David Vaughan re Lady Mary Lygon. I preferred Avis, Arestis and Whitehead for Nimrod, and (just) Campbell, as slightly neater, to Ball as Troyte (both turning right not left I think), but Hayward was absolutely blissful as Dorabella (why not Gasparini for this in other casts? Much as I love her I just can't imagine Naghdi in this - I appreciate she's out of it now - although it's always good to see artists working against type). I loved Raymonda: the glow of the Glazunov score matched by the glory of the set. Mendizabal (now there's a character principal in the making: will we see her Carabosse this time round?) and Clarke were fantastic as the Hungarian Couple (I still think he will make Principal as a Prince but it's good to see him being tried in a wider range of things to build stage presence, rather like Ball doing Tybalt) and the female soloists much surer than on Saturday afternoon, with, for me, glamorous Ms Kaneko and dazzling Ms Stix-Brunell (who had another busy time), stand outs (although Magri had been rather stunning on Saturday afternoon: she's really growing on me as an artist and dancer with a real individuality of manner and style). For individuality, Osipova is probably unique, and I though, however charismatic, she was at her most wilful with phrasing this evening. As the other half remarked on Saturday, "there are two sorts of virtuosities: she likes to show it's difficult, Muntagirov makes it look effortless. I know which I prefer." Great to see Alfreda Thorogood, Gary Avis, Christopher Carr and Wayne Sleep in interview, but still not entirely convinced by Darcey Bussell in such scripted environments. Still a lovely evening and a pity that my local cinema in Rye was more than half empty.
  23. Jamesrhblack
    I did wonder if the change was because Nicol Edmonds was out (as he was of Raymonda) and the rehearsed partnership needed to be maintained (and it would have been lovely to se Fumi Kaneko dancing with Reece Clarke too, not that Beatriz Stix-Brunell wasn’t very charming in her second jump-in of the afternoon). I also agree re Mayara Magri. Gallantry prevents my naming the first three female soloists but I don’t think any of them could be said to have enjoyed a particularly good afternoon.
  24. Jamesrhblack
    Absolutely agree. So moving to see mature artistry of that quality.
  25. Jamesrhblack
    Just read the very nice article and was about to flag it up on here! Late to the party as usual 🙂
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