Silver Capricorn

Unfortunately, for me, only Onegin, if Vadim is cast in the title role, R & J and maybe Balanchine.  Thank God for José Martinez and the ONP ballet with an emphasis on classical repertoire in the 24/25 season.

2 hours ago, Mary said:

I agree the prologue can work, but ever since the first night I have always wondered if it was really necessary. Productions worldwide have managed all these years without it..

I also wondered if the idea might have come from the use of a prologue in Winter's Tale:  they are quite similar!

 

In Nureyev's famous version of Swan Lake, the prologue about the transformation of the princess into a swan is also used and appears to Siegfried in a dream.

5 hours ago, FionaM said:

thank you for this alert.  
 

I wonder who would withhold their permission 🤔.  Or is it a case of being paid extra?  
 

Other galas with these participants have been recorded by the organisers and uploaded to YouTube afterwards. 
 

 

After all, the live stream from Belgrade is functional.  I relied a little on the fact that Serbia would not worry about copyrights and artists' consent 😉.

On 25/04/2024 at 13:09, FionaM said:

News that a gala in Belgrade Serbia will be livestreamed on YouTube 

 

SATURDAY 27.4.2024

19.00 Belgrade, Serbia

UTC+2

18.00 BST / UK

 

https://www.youtube.com/live/0YNhN5D48I4?si=_CLfghXgYikJNnX3
 

Impressive participants and programme:

 

Fumi Kaneko & Vadim Muntagirov

(Royal Ballet)

BLACK SWAN

COPPELIA

 

Anna Tsygankova & Giorgi Potskhishvili

(Dutch National Ballet)

TANGO by Xin Peng Wang

DON QUIXOTE

 

Shiori Kase & Gabriele Frola

(English National Ballet)

CORSAIRE

NO MAN’S LAND by Liam Scarlett

 

Nao Harada & Guilio Diligente

(Finnish National Ballet)

TALISMAN

AYE solo for male dancer by Emrecan Tanis 

 

https://www.instagram.com/p/C6ItXCtIxbi/?igsh=aHVtcjZ5ZHN4dGpk

 

Arranged by Petar Dorcevski, former first soloist and assistant artistic director with Slovenia National Ballet in Ljubljana.  Trained in Belgrade, Princess Grace in Monaco, and Vienna State Schools. 

Vadim pointed out to me that the organizer of the Gala does not have permission from the individual performers to live stream, so he does not believe that the live stream can take place.  So we'll see.

2 hours ago, JNC said:

I can’t answer your question but I very much agree with this.

 

On opening night there was almost a mini “curtain call” (no curtain) for Marianela and Vadim after the act 2 pas de deux. Deserved but it totally broke the spell of the plot for me and yes felt “untraditional” to ROH - in as I see this more from Russian companies but it didn’t really happen much at ROH previously? I suppose they are only responding to fans but I do wish they wouldn’t do it at certain points.

 

It maybe doesn’t make sense but I have less of an issue with it in Act 3, as there it’s almost a performance within the plot for the court, so a little bow to the applause doesn’t detract from the plot here for me as it’s like they are showing off and bowing to the audience *in the plot* (I.e. courtiers watching them). Similarly I don’t mind the bows in the sleeping beauty pas de deux finale or even after Aurora’s act 1 solo as they both in plot audiences at those points. But I would be annoyed at Manon and Des Grieux taking a bow after their bedroom pas de deux! 

And it was Vadim, who was asked in the course of the interview whether the applause during the performance after the variations disturbs him, who answered that he welcomes every such interruption, because every second of applause means a moment to rest and catch his breath for the next dance. Few people can imagine the physical strain dancers are exposed to during a performance. For me personally, it certainly does not spoil the artistic experience.

I return to a topic that was discussed here some time ago. I visited the Vienna State Opera on Saturday to see the ballet performance of The Lady with the Camellias by John Neumeier. As the weather was very cold, all the audience came in coats or winter jackets. In front of the entrance to the auditorium, all those who did not put their coats in the cloakroom were uncompromisingly detained by the auditorium staff and sent to the dressing room. No one was allowed to enter the auditorium wearing a coat. It should be noted that there is no charge for leaving clothes in the cloakroom, only voluntary. I really liked this procedure.

I visited Don Q performance at Opéra Bastille in Paris on Friday, April 12. It was my second visit to this performance. After the technically brilliant Paul Marque and Sea Eun Park, this time I saw my dream cast, Hannah O'Neill and Hugo Marchand. And I was definitely not disappointed. In ballet, besides the technique, the acting aspect is also important to me, which both actors fulfilled perfectly. Hugo Marchand with his incredible charisma stole the show for himself, commanding all the attention from the moment he entered the stage. Hannah O'Neill danced technically perfectly, but the attention of the audience, at least those around me, was focused on Basilio. It is true, however, that I usually go to the first rows of the ground floor for the ballet, and from there I can see details that cannot be seen from a great distance. And especially in the Bastille, the distances from the stage are huge. I had two girlfriends with me who are not ballet connoisseurs at all, and the performance made a huge impression on them, they were absolutely thrilled. Otherwise, I already wrote here somewhere that Nureyev's version of Don Q is  for me much more engaging than Acosta's version. In particular, I prefer Nureyev's version of the scene in the gypsy camp and in the tavern where Kitri, Basilio, Espada and the two dancers dance instead of Acosta's weird stomping and jumping on the tables. In general, I am so excited about the performance that I bought another ticket and will fly to see this cast again, which I did not originally plan 😀

5 hours ago, Sabine0308 said:

While I agree with your previous sentences, I strongly disagree with "trying to force their way...", this certainly does not happen in Berlin. I do like it when people dress up for the Night, as I do myself (Igrew up with going to theatres this way). But in Berlin, you can go as you please. I'd say that seeing people in festive clothes is a good example and gives other people an idea for their next visit.

Maybe Berlin wasn't the right example, but the Vienna Opera certainly was.  The emphasis on dress code applies to the largest classical theaters in Prague.  And yes, I was also brought up to dress up for the theater.  I regularly fly to London with only cabin luggage, and its main content is evening clothes for the theater, including shoes and a handbag.  I can't get used to ski jackets and knitted sweaters with deers at my age😄

3 hours ago, FionaM said:

Coats and large bags in the auditorium are a personal bugbear of mine as they inhibit anyone moving in or out at intervals.  I’m told in Germany they are required to be deposited (free) in the coat rooms, as they are considered a fire hazard.  I wish those rules applied everywhere.  

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.

8 hours ago, myrtle said:

 

Thank you very much!    But do I understand correctly that there won't be POB platform stream of the Giselle performances in May?   I have already watched and re-watched the POB platform Giselle with Ms. Gilbert and Mr. Ganio.   Indeed they were magnificent, but I would appreciate seeing these same dancers again in a different performance, or indeed any other of the POB's many stellar casts and was hoping that one of the upcoming performances would be on the platform just like the recent Don Q!  

Giselle's May live stream has not yet been announced, so we'll see.  Recordings of performances are usually included in the permanent offer of Opera Play Paris after some time, now in April it is, for example, an evening of choreography by Jiri Kilian.

22 minutes ago, myrtle said:

This discussion is very intriguing for me and now I'm even more keen to see Fille!   Will there be a performance streamed on the POB stream platform?    Don Quixote was just added yesterday--dare I hope Fille and then Giselle will also be on the POB stream?   If it will be streamed, is it already known which cast will be on the stream for Fille and Giselle?   Thank you all very much.   

Fille was already transmitted only in French cinemas on March 21, not on the POB stream platform.  Giselle on the Play Opera Paris platform is available in probably the best possible cast - Dorothée Gilbert and Mathieu Ganio.

12 hours ago, capybara said:

 

It is poorly described.  The legal video with Vadim is on ROH Stream Swan Lake 2018, time approx. 1:38:00. Another dancer on the recording from 2022 jumps on single double tour en l'air, not in a series.

9 minutes ago, alison said:

Will it work for the UK, I wonder?

I think yes.  It's via the ONP website stream, the same way the ROH website stream works.  In the Czech Republic, I have a subscription to the streams of both theaters and it works.

I'm happy to read rave reviews of Fumi Kaneko's performance here.  I can't wait for May to see her in my dream cast opposite Vadim Muntagirov.

I saw the opening night of Don Q in Opéra Bastille  with Sae Eun Park as Kitri and Paul Marque as Basilio.  They were both great, their performances were flawless, Florent Mélac was also excellent as Espada.  Nureyev's version of this ballet is much closer to me than Acosta's choreography.  It is a show full of color, joy and beautiful costumes.  I'll see another performance next week, with Hannah O'Neil and Hugo Marchand.  I look forward to.

On 28/03/2024 at 20:29, Lesley said:

Looks like Vadim and Fumi are no longer appearing at the World Ballet Stars gala in Geneva on June 10th unless they can time travel. They are still being advertised as appearing.

Yes, at the Gala in Geneva Yasmine Naghdi and William Bracewell (black pdd Swan Lake) will perform in their place.

8 hours ago, Henry said:

Generally, I too liked Jurgen Rose's costumes.  A small quibble was the use of colour. 

 

I was a bit shocked to see Marguerite Gautier make her entrance in purple.  For me, in the 19th century, purple was the colour for elderly ladies and widows.  I expected to see M.  Gautier in white (preferably) with a red camellia or in a red dress with a white camellia.  Was purple really the colour for a sophisticated woman who expected to be noticed?  

 

In some places the use of colour seemed a bit too simplistic.  A scene with all the dresses in a shade of blue, then a scene with the costumes in red.  

 

I don't think I would have understood the ballet within a ballet and how it was used to show Gautier's inner thoughts, if I hadn't read the synopsis.  Am I being a bit dim?  Was it obvious?  I note from Wikipedia that Jean Aumer did indeed choregraph a version of Manon Lescaut in 1830.  Has anyone ever come across it?  Is it referenced in the novel or was this device invented by John Neumeier?  

 

I note that starting with an auction clearance sale in the ballet (1978) came before the musical Phantom of the Opera (1986).  

 

All said though I very much enjoyed it.  Thanks again to Vienna Staatsoper, especially after their generous streaming during lockdown.  

I think the story of Lady of the camellias is widely known and does not deviate much (except for the episode with Manon) from the opera La Traviata, which everyone probably knows.  Some productions of La Traviata also start with an auction, I suspect Zeffirelli's version for example.  The use of color for the costumes is iconic, and the two most famous pas de deux, often performed separately at galas, are referred to as the white and the black pas de deux.

2 hours ago, Dawnstar said:

 

I was fine with Neumeier's choreography & story telling - admittedly I did read the synopsis on the Wiener Staatsoper's website first & I know the overall plot well anyway from Traviata. It was just the music that didn't work for me. There was some wonderful choreography in the pdds where I was longing for some music to match it (the reverse of the problem I have in some of the classics).

 

I didn't recognise any of the music from Month in the Country so I didn't have that issue.

Yes, some of the same Chopin's pieces are used in both ballets, for example the Grand Polonaise in E-Flat Major op.22.

For me, Die Kamiliendame is Neumeier's best work.  And Chopin's music seems to me to be beautiful and perfectly in line with the story and the choreography.  I know this ballet from various videos, and the Viennese performance made a big impression on me.  I'm going to see him live at the Vienna Opera in May.

1 hour ago, San Perregrino said:

Not sure why it makes much difference if it’s announced before, simultaneously or after other companies? Booking only opens to the general public for the summer season tomorrow. Surely the emphasis needs to be to sell these seats before dangling a new season in front of people? 

It is of great importance to me personally, because on 8.4. I will buy tickets to the ONP for the whole season, possibly to other theaters, and I won't have much space left for the ROH, where I reserve only certain dancers.  Damage.

25 minutes ago, PatC said:

Just had an email response to my enquiry as to when next season will be announced. 
 

April 30th….

Oh my God, that is probably the latest deadline for announcing a new season of any theater company in Europe.  The Paris Opera will be for subscribers on 8.4.  pre-sale for the ENTIRE new season has started.

12 hours ago, Geoff W said:

 

 In replying to the responses to my post from FionaM and Sim.

 

 

 

I think they are both missing my point - it’s not the role of anyone to suppress an opinion, but the measure in which an opinion is voiced.The words used were very powerful. On this forum everyone is entitled to an opinion. Fiona M’s choice of words was extremely direct in her dislike and her comment on this forum was exclusively about Osipova’s fouettes which were well delivered and certainly tested the boundaries, but to write such descriptions as ‘ugliest I have ever seen’ ‘crash on’ and ‘no ballet technique’ are strong superlative epithets. It would totally impossible to deliver even a set of single fouettes without ‘technique’.  It is this level of discourse which does neither the forum nor the writers any favours. As Fiona did not like these fouettes, which had their bumpy moments, pushing technique to the limits, they were exciting in the spirit of the piece, and she saved any catastrophe, which was sadly not the case for the dancer in the Swan Lake Odile pas de deux earlier in the evening. Fiona M has since I see edited this post and has changed the wording although I still have an issue with the use of ‘vulgar parody’ which still seems a little harsh. The audience obviously did not share that view.

 

I accept totally that my response to her was equally strong, but this very direct style of reviewing does not enhance one’s knowledge. As for Sim’s response it was equally sharp. As Missfrankiecat points out that Fiona M (her neighbour at the Gala) does offer erudite posts overall and keeping the tone professional would endear to her more to others as she clearly has a deeply held conviction worth sharing.

For an interesting from a review in a magazine  Dance Europe about Don Q pdd: This shared joy was present inspades in the final item, the oldfavourite, Don Quixote. It wasgiven an electric performancefrom Natalia Osipova and GiorgiaPotskhishvili, Dutch NationalBallet's newest principal. Sheis an established favourite withThe Royal Ballet, and many inthe audience would have seenher dance the role of Kitri, butathis was a new interpretationthat saw her in buoyant mood,

playing with the choreographylike a delighted child with a newatoy. Her solo saw her skimmingthe stage on pointe and whizzingthrough relevés at breakneckspeed. Her fouettés kept up thepace, with unorthodox armsand a wide smile. Potskhishvili,with a turbo-charged jump andthe ecstasy of a champion, tookto the air in truly spectacularajumps. They were obviouslyloving it and generously sharedtheir pleasure. The showcouldn't have had a betterclimax.

2 hours ago, Emeralds said:

I remember seeing Myriam Ould-Braham in the Peasant Pas de Deux as a youngster.....soon she will be dancing her retirement performance in May! Where does all that time go??  I do like this production a lot- let us know what you think after the show, @lady emily(if you do go), @Silver Capricorn, @Josette, @SheilaC and everyone who is going!

I saw this production of Giselle at ONP 2 years ago and for me it is the most beautiful Giselle I have seen.

18 hours ago, lady emily said:

I was fantasizing about taking the train to Paris today to see Myriam Ould-Braham's retirement performance at the Opéra in Giselle (far too expensive!) when I noticed that Marianela Nunez will be performing Giselle for two performances in Paris with Hugo Marchand on 25th and 27th May! The RB principals are frequently crossing the Tunnel this spring, it seems. 

 

Apologises if there is already a thread on this, I looked but did not see one! 

Yes, Myriam Ould-Braham will retire as Giselle in May.  I'm glad to see her as Giselle one last time.  Marianela's guest appearance was already announced last year, and there was long speculation about her partner.  Hugo Marchand has already confirmed his partnership on social networks. I am already looking forward to this performance, I think it will be something extraordinary.

3 hours ago, Sharon said:

With Sambe and Nunez guesting with POB - I would love to see an exchange and have some POB stars guest over here. Diop or Marchand would be great but top of my list would be Mathieu Ganio - before it's too late.....

That was beautiful.  The problem is with guests in full-length ballets.  Perhaps only Manon, Mayerling and The Dante Project have the same choreography in ONP and ROH.  Classical ballets are all presented at ONP in Nureyev's choreography, which is very specific (Swan Lake, The Nutcracker, Sleeping Beauty, La Bayadére, Cinderella, Don Quixote, Romeo and Juliet).  This makes hosting very problematic.