annamk

After reading all the great reviews I’m so disappointed to have missed this. 

I was among the "retired" audience at this afternoon's encore showing. 

I actually liked Darcey Bussell's outfit ! Her presentation was pretty much fine I thought - I expected some howlers given the comments earlier in this thread. 

I enjoyed all the interviews. 

Prior to this I only saw the general rehearsal. 

Danses Concertantes I thought I might like more on a second viewing but I didn't, so chalk that one down to a "not for me".

I wish I'd read the synopsis for Different Drummer but even though I had an incomplete idea of what was going on I thought Sambe in particular gave an outstanding performance, likewise Francesca Hayward. 

Requiem is a masterpiece. Sarah Lamb was ethereal, William Bracewell magnificent, Lukas Brændsrød marvellous, everyone was. I hope the RB programme it more often in future.

7 hours ago, FionaM said:

I wish Ratmansky would not choreograph to existing ballet music … he’s using Paquita for his new NYCB ballet.  
 

That’s the sort of thing choreographers for ballet schools do.  I find it disrespectful to Petipa’s wonderful choreography.
 

it’s also lazy as he’s created a version before.   
Paquita (Ratmansky reconstruction) | The Marius Petipa Society

 

There is so much other fabulous music to be explored.  

I find it sad and offensive that someone on this forum feels it's ok to call Alexei Ratmansky, acknowledged as one of the greatest living choreographers, lazy and disrespectful ........ really ? 

Interesting to read (thanks to the Links today) that the critics reviews from Sydney for Australian Ballet's performance of Inger's Carmen are noticeably more positive than the press reviews here for ENB.  

My friend and I went last night. 

We thought it was a very worthwhile evening. It was interesting to see dancers from so many different companies even if stylistically there were similarities between many of the pieces.

Korean National Ballet - Spring. Lovely costumes, the onstage live music and singing was a treat. Nothing amazingly fresh or new in the dancing just a charming little piece for 1 woman and 2 men.

Opera Ballet Flanders - a pdd in grounded contemporary style, not ground breaking but perfectly enjoyable.

National Theatre BRNO - one of our favourite pieces for 3 men and a woman. Quirky and whimsical.

Semperoper Dresden - sort of middle European influenced style for a couple with a brief film clip. 

The Royal Ballet - Joseph Toonga's trademark moves for Olivia Findlay and Nadia Mullova-Barley in pyjamas. If you like what Toonga does you'll enjoy this, personally I think it's a waste of classically trained dancers. Also I'm not quite sure how Toonga is an emergent choreographic voice. 

Norwegian National Ballet - Xander Parish demonstrating his partnering skills in a classically influenced, dramatic pdd.

Birmingham Royal Ballet - one of our standout pieces of the evening. We liked the choreography Birmingham Royal Ballet principal dancer Lachlan Monahan created for 2 men and 2 women. 

Paris Opera Ballet - Florent Melac (more recently known to me as Espada in the recent Don Q live relay). Another enjoyable creation, contemporary in style and dress.

Scottish Ballet - too much initial writhing around but it picked up subsequently. 

The Royal Ballet - a more than decent choreographic effort from Matthew Ball for himself and Mayara Magri. Personally I'd ditch the costume designer though. 

Hats off to Emma Southworth - the logistics of organising this must have been a nightmare. The evening wizzed along nicely: the music choices were pleasing - no loud thudding bass tracks, all in all an engaging 2 hours and not once did I find myself thinking about my shopping list. 

2 hours ago, JNC said:

Hope this isn’t too off topic but interested to how this compares to Acosta’s version for those who have seen both?

 

I have to be honest and say I don’t enjoy Acosta’s version. Of course Kitri’s solo is iconic and I like the more classical parts of the Dryads and the grand pas but I find it a bit “panto” in parts (not helped by some of the sets, the windmill one in particular) and the choreography doesn’t “wow” me the way other classical ballets do.

 

I guess I’m interested in whether I would enjoy a different version of DQ, or whether the aspects I don’t enjoy about Acosta’s are to do with his choreography? 

I don't much enjoy Acosta's version either: I feel some of the virtuosity has been taken out of the choreography making the dancing just less exciting, I find the addition of the guitar troupe in the gypsy scene is long and tedious as are all the "panto" parts.

I certainly prefer Nureyev's version to Acosta's although it has no shortage of panto the choreography is more exciting - at least it seemed that way with Paul Marque. 

I love the Mariinsky version most - on youtube you can find a thrilling 2019 recording with Elena Yevseyeva and Vladimir Shklyarov. I saw this performance live and it was spectacular. But also who could forget the Bolshoi version with young Osipova and Vasiliev. 

Obviously, mediocre dancers can make great choreography look pedestrian but more tricky for fabulous dancers to make dull choreography truly dazzle. 

@Irmgard did you see the other two casts  ? I am interested to know whether your opinion of anything was changed ?

I only saw one performance which was the Bueno/Frola cast on Saturday afternoon. 

I'm totally unfamiliar with Inger's choreography and on the basis of what I saw yesterday I wouldn't rush to see anything else of his, although I caveat that with finding it tricky to be sure on the basis of a single viewing. It felt as though there was a lot of repetition in the not terribly attractive, unballetic movement, much running around, much rolling on the floor in Act 2. The pdd for Carmen and Don Jose is nothing like the steamy affair in Petit's Carmen seen here in this extract - although I don't know the Petit production and it may be that this is the only interesting few minutes.

The staging is stark and simple but quite effective, particularly the use of the mirrors on the back of the panels and the lighting is dramatic. I liked the costumes for the women.  I don't think the story is particularly clearly told but there are some striking moments, particularly the shooting of Zuniga. 

IMO Ivana Bueno and Francesco Gabriele Frola gave magnetic and powerful performances. The roles of Zuniga and Torero yesterday were dramatically danced by Daniel McCormick and Gareth Haw.  I didn't feel that the character of the Boy added anything. 

I'm not overly familiar with the opera music so I wasn't bothered by the version presented here - I quite liked the percussion section - but overall it wasn't as memorable as the opera score. 

I enjoyed it more than I expected to although perhaps that's a reflection of my low expectations. I might go and see it again if it was revived but overall I feel ENB have more to offer than this. It felt like a rather "thin" for a full length performance. 

7 minutes ago, JNC said:

I’ve only seen it on TV (think the BBC streamed it many years ago when it was first created) but remember feeling very disappointed and underwhelmed. Felt a lot of “dance acting” to me rather than lots of choreography and “proper” dancing. I know in a full length ballet there is some filler to a point, but in classical works or Ashton it still feels like choreography/ballet to me. (I find some of MacMillan’s veers towards filler at point but he manages to keep the balance just about right and also his pas de deux make it worthwhile!) Just personal preference.

 

I agree with you. It seems more like dance theatre than ballet. I saw it at the premiere and laughed like a drain at some of the scenes but the next time it fell completely flat. So for me, it's a once off entertainment which is fine. 

Sent you a pm 

Late to post on the Kaneko/Bracewell Swan Lake on Easter Monday.

It's all been said really.

She is dazzling, ravishing even; he dances with a beautiful classical lyricism and radiates an unparalleled warmth and generosity of spirit. Somehow their exceptional individual qualities give rise to a unique, incomparable and extraordinary partnership. 

I went to the opening night of this in Paris and I watched the same cast in the live relay last night. It was my first time seeing the Nureyev production of Don Q, I went mainly for the opportunity to see Paul Marque live again as he's one of my favourite dancers and I love his partnership with Sae Eun Park.

The production is classic Nureyev, following the same familiar path as most Don Q productions but with many many steps for the men and then some more. Difficult solos for Basilio in which he turns first one way and then the other. Of course the super dancer that is Paul Marque coped easily with all of these difficulties although it has to be said that difficulty doesn't necessarily make for the most attractive choreography. Everything moves along at a brisk and jolly pace. The tone of the costumes in Act 1 and 2 particularly is mostly on the muddy side which surprised me. I thought the matadors made a slightly more muted impact (certainly in their entrance) than they do in the Royal or Mariinsky productions and I was not overly impressed with the Espada of Florent Melac.

In the Dryads scene the lighting was quite dim so with the homogenous costumes and restrained dancing my friends found it a rather glacial presentation. Maybe that's the way Nureyev wanted it done because it very much reminded me of Mariinsky performances. I thought Heloise Bourdon danced beautifully as the Queen of the Dryads, she made the Italian fouettes look easy. 

The grand pas was full of warmth and joy. Paul Marque and Sae Eun Park dance beautifully individually and together, they have a warm and attractive connection it all makes for a very uplifting evening viewing. 

I enjoyed the insightful interval interviews.

I really hope Paris do many more of these live relays - it's great that they make them available on their platform and the price is very reasonable. I paid 9.90 euros for a month subscription - cancellable at any time. 

I believe the relay is available on the website for 7 days - I highly recommend watching. 

47 minutes ago, zxDaveM said:

 

Well, there are still loads of tickets left - so it is really only us hard core fans who love Ashton (as can be seen by the tickets that have been sold - 'fans' tickets!) that go for these triple bills, sadly.

Wow, I just had a look and am quite shocked and saddened by how low sales are, particularly given the top price is two thirds of Swan Lake. I hope sales pick up nearer the time or the RB might find it difficult to justify this kind of programming in the future.

Both tx now spoken for.

D40 spoken for, D41 still available. 

D40 & D41 £9 each. Message me if interested. 

I can’t find anywhere a complete list of performers and the programme. Am I missing something or do the organisers not publish it and so we just have the bits above that forum members have found online. 

On 07/03/2024 at 21:25, annamk said:

I enjoyed this more than my lowish expectations (because of the programme choices) although the bigger part of the pleasure was in seeing the dancers of NYCB rather than the programme itself. 

 

Rotunda - I muddled this up with another Justin Peck I'd seen and was expecting a sneaker ballet so it was a positive surprise to find it was danced in ballet shoes and more neo classical in style. I didn't much like the music and overall I agree with @zxDaveM above that it was just not particularly memorable but the dancers were wonderful. 

 

I've seen Duo Concertante before and it's not one of my favourite Balanchine works but it was brilliantly danced.

 

I quite enjoyed the Pam Tanowitz, unlike most of her other work I've seen at the RoH recently. It's her usual quirky choreography - the costumes were fabulous. 

 

I can see why Kyle Abraham's Love Letter (on shuffle) was programmed last. If you like James Blake music, funky costumes and lighting it will send you out on a high. It was not entirely contemporary in dance style unlike what I've seen of Abraham at the RoH.  I did enjoy it, maybe because it reminded me so much of Forsythe's Blake Works I.  Perhaps it was just the music, I'm not sure.

 

Very much hope that this sold out run will mean that NYCB come back very soon for a longer stay and with more programming variety. I'd love to see some Ratmansky, Robbins and more Balanchine. 

 

 

 

 

Lots of varied opinions on here and it seems I changed my own mind from the Thursday to the Sat matinees ! 

Rotunda - I liked the music much more yesterday. I wouldn't want to see it on repeat but enjoyed it nonetheless. The practice costumes didn't bother me. Having seen what Roman Meija can do in Tiler Peck's programme it was disappointing that there was so little sense of what an exciting dancer he can be.

Duo Concertante - as on Thursday, super and the highlight.

Gustave Le Gray No. 1 - ok - ish. Interesting that it was danced by 4 women yesterday. 

Love Letter (on shuffle) - what happened between Thursday and Saturday ........ I went from quite enjoying this to finding it unbearable. Hated most of the costumes, hated the volume of some of the music and the "rap" sections. Unoriginal, derivative. 

7 minutes ago, AnneMarriott said:

Crikey - was that James Blake, then?  

Playlist wasn't James Blake music. Blake Works 1 was and prior to seeing that at Paris Opera Ballet, like you Anne, I had no previous awareness of James Blake but I loved it. Very danceable. 

7 hours ago, Bruce Wall said:

 

So pleased @bridiem that you were able to enjoy your evening - especially as it was a birthday treat - with NYCB dancers.  I think however - as I've said elsewhere - that you should really direct your comments to Alistair Spalding - who literally put THIS programme together.  Apart from the the fact that it is actioned by the NYCB Company in many other ways their creative input was not instrumental I hear.  His WAS.  This was built for Spalding's dedicated London audience.  it is not a programme per se that ever has - or would be - certainly in this construct - presented in NYC at State Theater.  Spalding's presentational dictates were very firm.  This too is understandable.  After all Spalding's Sadler's Wells (albeit with some certain governmental support - and, indeed, probably more than NYCB could ever dream of) were presentational partners of NYCB's 2008 Coliseum season in which major Balanchine and Robbins works were on the bill.  This fared very badly in terms of its audience numbers and I assume Spalding/Sadler's will have lost their segment of that investment.  Britain today is a very different country - certainly as it is internationally and economically positioned - SO very different - so Spalding may be rightly prudent in his current London construct.  Clearly it has worked as it has sold.  Well done him.  Something tells me that it is highly unlikely NYCB will be following down this particular pathway again.  This was set up pre-pandemic to be part of a three part evening - with Rotunda being commissioned from NYCB as the opener - another work from the POB - equally small in size- for the second act and something different for the third.  Rotunda opened at NYCB in February 2020.  The pandemic seemingly destroyed this active incentive for the others - but as Rotunda had already been physically actioned the commitment had to be honoured and it is Spalding's construct for THAT which we herein see.  I certainly applaud - as sure do we all - NYCB for following through as they dutifully have done.  

 

 

@Bruce Wall I just wanted to clarify, do you mean this NYCB London visit was set up pre pandemic and Rotunda was commissioned by Sadlers Wells, and then was to be followed by Paris Opera Ballet ? 

I enjoyed this more than my lowish expectations (because of the programme choices) although the bigger part of the pleasure was in seeing the dancers of NYCB rather than the programme itself. 

Rotunda - I muddled this up with another Justin Peck I'd seen and was expecting a sneaker ballet so it was a positive surprise to find it was danced in ballet shoes and more neo classical in style. I didn't much like the music and overall I agree with @zxDaveM above that it was just not particularly memorable but the dancers were wonderful. 

I've seen Duo Concertante before and it's not one of my favourite Balanchine works but it was brilliantly danced.

I quite enjoyed the Pam Tanowitz, unlike most of her other work I've seen at the RoH recently. It's her usual quirky choreography - the costumes were fabulous. 

I can see why Kyle Abraham's Love Letter (on shuffle) was programmed last. If you like James Blake music, funky costumes and lighting it will send you out on a high. It was not entirely contemporary in dance style unlike what I've seen of Abraham at the RoH.  I did enjoy it, maybe because it reminded me so much of Forsythe's Blake Works I.  Perhaps it was just the music, I'm not sure.

Very much hope that this sold out run will mean that NYCB come back very soon for a longer stay and with more programming variety. I'd love to see some Ratmansky, Robbins and more Balanchine. 

Ticket spoken for.

Message me if interested. 

Both tx spoken for.

£14 each. Send me a message if interested. 

Anna 

12 hours ago, Bruce Wall said:

Thank you @DrewCo for your insightful and positive remarks.  I know they are much appreciated.

 

I just want to post a link to an CNN interview with Ratmansky that shows both clips and photographs of his TRIUMPHANT WORK - SOLITUDE.  There has been universal praise for this work - already attributed by many as a 'masterwork'.  I know of people (including some friends and NYCB volunteers) who seeing it once are now buying tickets for the remaining three performances.  There has only been one negative remark that has come within my knowledge on this piece and that was - most sadly - here.  I am certain the correspondent was sincere in her opinion but I just want to ensure that BcoF readers have a sense of perspective otherwise.  

 

Please do watch this clip if you can.  Ratmansky - in his abject honesty - is - as ever - moving.  You will see two brief clips from the ballet itself and you will - in small part - be able to make a better judgement on what you have read here.  

 

https://www.cnn.com/videos/tv/2024/02/21/alexei-ratmansky-amanpour-solitude-ballet.cnn

 

Sadly I doubt that London will see this work.  The orchestration of the Mahler is large and the stage it was mounted on larger than any in our city.  Still you can I think get a sense of its pull.

  

Thank you for posting this clip, it's utterly heart-rending.