Silver Capricorn

2 hours ago, Anna C said:

So still probably no older than 16 then - and isn’t Des Grieux the narrator?  Possibly not the most unbiased or reliable narrator, being a man.  
 

I’m glad MacMillan gives us a more romantic portrayal of DG, and I wouldn’t change anything about the ballet, but it’s a little disappointing to see Manon still being described reductively as a slut/conniving and so on, given her age and that the whole story was originally told from a man’s point of view.

Yes, the story is told by Des Grieux, but he does not say anything bad about Manon, on the contrary, he excuses all her mistakes and betrayals.  In general, the fate of Manon in the ballet is depicted much more dramatically and harshly, for example, the rape, as depicted in the 3rd act of the ballet, does not occur at all in the novel.  In New Orleans, Manon is courting the governor's nephew, whom Des Grieux lets go and injures in a duel.  After the death of Manon, Des Griuex is absolved of all guilt at the intercession of the governor and his nephew and returns to France to his family.

18 minutes ago, Anna C said:

In the original novel, isn’t Manon 15 years old when Des Grieux first meets her?  If so, I can’t agree that she’s anything *but* an innocent victim.

According to Abbé Prévost, the Knight Des Grieux was 17 years old when he first met Manon, she was a little younger, but according to him much more experienced.  She was on her way to the convent, where her parents had sent her to put an end to her love of pleasure.

My main wishes came true already this season (Manon, Don Quixote and Swan Lake). So maybe only MacMillans Romeo and Juliet and Onegin with Vadim. La Bayadere is probably an impossible dream at ROH, I hope I will get to see it in ONP. I don´t like triple/mixed bills and I don´t visit them all the time.

For the first six months 2024 this way for now:

ENB - Giselle

ROH - Manon ( Osipova/Clarke, Naghdi/Bracewell, Kaneko/Muntagirov)

         - Swan Lake (Nunez/Muntagirov, Kaneko/Muntagirov)

ONP Paris - La fille mal gardée

                  - Don Quixote (Nureyev´s version)

                  - Giselle (twice, once with Nunez)

                  - Swan Lake (Nureyev´s version)

Roma - Swan Lake (Kanko/Muntagirov)

I am especially looking forward to Nureyev´s choreographies, which I love above al else. And of course Manon, which I could watch every day 😀

14 hours ago, FionaM said:

I’ll second that.
 

Strong classical technique like Nunez.  The difference is Fumi will take risks.  Nunez is too careful for me.   

 

Strong dramatic range and more subtly nuanced than Osipova.  
 

And if anyone is wondering about Kaneko/Muntagirov chemistry then see photos on instagram from their performances together in the past two years beginning with Manon pdd at a gala in Japan.   

I saw Fumi Kaneko dance with Vadim Muntagirov at several galas in Europe this year (Geneva, several times in Brno), their partnership is absolutely perfect.  I'm really looking forward to their Manon and even more to Swan Lake.

I'm not a big fan of modern ballet, I always prefer the classics, but when I was in London this weekend for Don Q's derniere, I decided to attend the opening night of the Dante Project.  And I certainly don't regret it.  I liked the music and the choreography, the performances of the dancers were great.  I really enjoyed it and not knowing the detailed synopsis didn't bother me at all, I felt the dance, the story wasn't that important to me.

I came to yesterday's performance because I wanted to see Osipová, I know her style quite well, so I knew what to expect and the reality did not disappoint me.  Reece Clarke works primarily as her reliable partner, his solos are technically fine, but for me they lack something like a "wow effect".  Because I love the classics and I don't like to see flaws in the technique, for me the highlight of this Don Q series remains the pair Nuñez - Muntagirov, completely unmatched.  And next year I'm looking forward to the Kanako - Muntagirov collaboration, from which I have high hopes.

46 minutes ago, capybara said:

ALL outside commitments for a company member should follow discussion with the AD and, if the offer from Dubai came before the DQ casting, it should have been possible to agree more sensible timings at the RB.

 

I feel strongly that dancers owe their first allegiance to their company and its audience - the stars are well paid (aren’t they?) and enjoy all sorts of additional benefits including insurance, health and fitness facilities and support etc. 

 

I know that there is an increasing amount of guesting by RB Principals and Soloists and I think it’s great that their talent is being seen and appreciated across the world. But ……

If the principal, at the peak of his artistic career, has 6 performances scheduled in his home ensemble for a period of 6 months, it is not surprising that he tries to dance elsewhere, and it is certainly not just a question of money.  In addition to hosting, the head of the local ballet discusses with Kevin O'Hare.

27 minutes ago, bridiem said:

I do wonder if the audience starting to clap during a difficult solo sometimes causes a dancer to lose concentration which can lead to a fall (possibly what happened on Tuesday evening). I know it's very difficult not to join in if others start clapping when something brilliant is happening on stage - I've found myself doing it a few times - but I think it's both better and safer to wait until it's finished. A huge burst of applause at the end is more appropriate and adds to the drama, whereas clapping as it happens reduces it to a kind of spectacle in which the dancer is doing tricks. 

During one conversation with the dancers, a question was asked whether they are bothered or disturbed by applause during a variation, for example during a fouette series.  The answer was that on the contrary, it would encourage them to perform better.  I saw 2 performances of Don Q with Nela and Vadim, and the reaction of the audience seemed reasonable and the atmosphere in the audience was great.  When I previously had the opportunity to watch a ballet performance from Russia on YouTube, the audience there clapped and shouted almost continuously, which was not very pleasant, in addition, the audience quite often recorded entire performances on their mobile phones.  Fortunately, these morass remained in Russia.

World Ballet Day 2023

Opéra national de Paris, 1. 11. 2023 at 11:00 a.m live from the Palais Garnier

16 minutes ago, Garnier said:

Has anyone booked ever these (or tried to book them)? If so, was it easy to do? I’m looking for tickets for a performance that is sold out - am on the waiting list but trying to look for other options in case nothing comes up! 

Tickets for sold-out ONP performance are often available at bourse.operadeparis.fr

49 minutes ago, art_enthusiast said:

 

I'm definitely booked to attend a few RB Manon performances, don't feel the need to see it elsewhere next year! I did see the Royal Swedish Ballet perform it in September, thought it was marvellous and now can't wait for the RB's portrayal.

 

I'm surprised about Nureyev's choreography not being too appealing - I confess that I didn't check and assumed it would be the Petipa version. But it might still be worth going to hear the music! I've never seen it live before, not sure who else might be performing it next year. (And doubt the RB will be bringing it back next season, unfortunately!) Wasn't Nureyev's version of Don Q good?

It's a matter of personal taste.  On the other hand, I prefer Nureyev's choreography and I'm already looking forward to Don Q in Paris.  And I love his Bajadere, also in the ONP production.

56 minutes ago, Rob S said:

Vadim has spoken….24th November 🎉☺️

Yes, November 24th, he shares my IG story 🙂

2 minutes ago, Silver Capricorn said:

I saw it on German Amazon. I ordered here: https://www.europadisc.co.uk/classical/239173/Prokofiev_-_Cinderella_(Blu-ray).htmfbclid=PAAaaBZ7My8qTxQ4ErRT3oCJNguIQVYdt9YwzViK7bHES5QTTjx-Qozcggb0c

They send without problems to the Czech Republic, where I live.

Sorry, the link doesn't seem to work, try looking at www.europadisc.co.uk

26 minutes ago, Rob S said:

I can’t see it on Amazon Uk 

I saw it on German Amazon. I ordered here: https://www.europadisc.co.uk/classical/239173/Prokofiev_-_Cinderella_(Blu-ray).htmfbclid=PAAaaBZ7My8qTxQ4ErRT3oCJNguIQVYdt9YwzViK7bHES5QTTjx-Qozcggb0c

They send without problems to the Czech Republic, where I live.

On 11/10/2023 at 09:48, Naomi M said:

Royal Ballet’s Cinderella will be released in November 23rd, I saw it on the Japanese website of HMV but will be released by Opus Arte
 

https://www.hmv.co.jp/artist_バレエ＆ダンス_000000000040071/item_Cinderella-Prokofiev-Ashton-nunez-Muntagirov-Royal-Ballet_14366434?site=mailmagart&utm_source=moa231011sa&utm_medium=other

It is already possible to pre-order the Cinderella DVD or BluRay in e-shops, for example Amazon or Europadisc, with delivery in late November or early December.

2 hours ago, Scheherezade said:

I feel a trip to Rome coming on. 

I already have tickets 😁!

7 hours ago, Don Q Fan said:

Having been at the disrupted show last Friday I have been wondering about a couple of scenes in Act 1 that I do not recall seeing. The first was the one where Gamache is usually ridiculed by Kitri and his hat gets knocked off and she pulls his wig off I did not see this this time round. Has this perhaps been removed for not being PC? The second scene that I missed was where 3 couples are dancing Basilio and Gamache are dancing with Kitri's friends and Kitri is dancing with DonQ,  then the music stops the lights go down and we just see Kitri and Don Q spotlit and dancing as if he is in a trance. Perhaps this was in the last few minutes of Act 1 which was curtailed. Can anyone enlighten me as to whether either of these scenes are still in the ballet? 

 

I remember the Gamache wig scene from Nureyev's version of Don Q, not sure if it's in Acosta's version.  I saw the minuet scene you mention in both performances that I have now seen with Nela and Vadim.

5 hours ago, Dawnstar said:

 

This is probably me being autistic but I don't see how one can cherish a dancer whom one does not know? My understanding of the meaning of cherish is that it requires a warm personal relationship with someone. I admire & appreciate performers but would never be presumptuous enough to imagine I could get to know any of them them well enough to be able to cherish them.

 

 

I too am hoping they will get paired together in Swan Lake. Kaneko will have to have a new partner anyway.

I'm hoping to cast Swan Lake Fumi with Vadim.  They perform together at almost all foreign galas, but not yet at ROH.  I'm glad that it finally worked out in Manon, so there's still Swan Lake left.  And even if it doesn't work out, they will host together in June 2024 at the Swan Lake in Rome.

12 hours ago, Missfrankiecat said:

Frankly, I'm amazed the RB doesn't do something to protect its stars from such behaviour - like order a car to get them home at night.  No way should there be an expectation that they should manage the basics of their security at and from the stage door, when at the same time there is undoubtedly an expectation that they interact with fans at the stage door and other events in order to promote not only themselves but also the institution.  

I recall reading in Vadim's book that one reason he loves Japan is because the fans are so orderly and even reticent to make eye contact, so he feels more private.  Of course, he's grown up but it can be incredibly hard to shake people off politely who think they 'know' you but are complete strangers.

In Japan, official signings are organized after the show, as far as I know.  On the other hand, 80% of the fans at ROH's stage door are visitors from Japan.  The artists do not seem to be bothered by the influx of their fans, just look at the Instagram accounts of Marianela or Vadim, where they share a lot of footage taken from their fans, often right at night immediately after the show, when you would think that  they will rest.

I hope that the beauty and magic of ballet Giselle is about something other than how many entrechat six jump dancer. This is just an acrobatic element almost like in the circus.  After all, Vladimir Shklyarov used to jump a similar number some time ago. I've seen a number of Giselle choreographies that completely omitted this element and it didn't hurt anything.

13 minutes ago, Linnzi5 said:

I haven't seen the Bolshoi and Mariinsky productions, so will have to see if I can find any. I'd be interested to see the differences.

I've seen Don Q in the Mariinsky and Bolshoi Theater versions, they may interest an orthodox lover of the classics, it's just a series of virtuoso ballet numbers.  Acosta's version is certainly more suitable for the contemporary audience who is not a regular visitor to ballet performances, it is much more dance theater than classical ballet.  And even a lover of classical technique will be amazed by the performers of such stars as Nela, Fumi or Vadim.  If I personally would like to see a purely classic version of Don Q, I will go to Paris next year to see Nureyev's version.

1 hour ago, emmarose said:

 

Funily enough, I think the opening night really set the bar exceptionally high. So much so that I had tickets for last night (I really wanted to see Natalia)  and the person I took to opening night said they didn't want to go as nothing could really be as good again, they thought they would be picking fault for not living up to it.

 

I myself couldn't go yesterday as I was having a bad pain flare up.

I also consider the opening night cast to be absolute perfection that no one else can match.  That's why I'm going to see Don Q again on October 16th.  If I'm lucky, I'll see Natalia Osipova on November 17.  I don't need to see anything else about Don Q.

I hope the orchestra strike would have been announced well in advance. Not like at the Paris Opera where we found out about the cancellation of the performance due to the dancers' strike at 12:00 on the day of the performance, after we had landed in Paris and checked into the hotel ...

Back to Don Q: 

Gary Avis is don Quixote 4th, 7th eve, 11th, 14th eve, 28th mat October, 7th eve November, and Lorenzo 30th September, 16th, 19th, 28th eve October, 11th mat/eve, 17th November.