annamk

10 minutes ago, alison said:

 

Well, as I've said before, the variety of viewpoints from the ROH auditorium can mean that people get very different impressions depending on where they are sitting!  I don't imagine any of the critics will have seen the performance from anywhere other than "ground level", which was why I was surprised to see that Luke Jennings appears to have been the only one to pick up on the details of the corps.

Is he the only major critic who was a dancer ? 

I too had mixed feelings about last night. 

Even if I don't love all of Osipova's interpretative choices, I always find her interesting to watch because she brings something different to her performances. These days they seem to have acquired a slightly edgy, more wild feel, it's not all about a beautiful classical line with everything exactly in place. Last night her swan was certainly more swan like than any of the others ! 

I enjoyed the Act 2 pdd, I thought Osipova and Ball looked good together and her dancing was so secure he barely needed to be there to partner her.

I'm not a fan of Campbell's Benno, he dances it perfectly well but in his hands the choreography is diminished because Campbell is unable to convey classical elegance in the way that, for example, James Hay can. Sorry to say that I thought the two sisters (Mendizabal & Stix-Brunell) were more like two distant cousins last night, not well matched - going off at a complete tangent though it occurred to me that Stix-B would make a charming Lise. 

I didn't find Act 3 particularly successful. For myself, that may be a lot to do with Muntagirov's opening night performance setting such a high bar both technically and dramatically that both Bonelli last week and Ball last night have seemed quite ordinary by comparison. For Bonelli I think it's a question of the stage he is at in his career, but for Ball I found myself wondering whether he has the technical chops necessary for the variations in these traditional classical roles ?  Certainly Ball was nervous which may have contributed to his underwhelming Siegfried but could it be also that old chestnut casting ? These days everyone has to dance every role regardless of suitability. If I  think back just a few weeks, I found Ball's Armand one of the best I've ever seen but Muntagirov's performance deeply unappealing. 

As far as the corps is concerned I feel the performances have generally been rather average which may be to do with a new production as demanding as this coming at the end of a long season but may also be to do with the diversity of styles required in the Royal Ballet repertoire meaning that classical technique isn't top of the list of priorities. Luke Jennings makes these interesting points in his review this  "the corps dancers struggle, with issues of line, placement and pull-up continually and dismayingly in evidence." and particularly his last paragraph which may be too long to quote here so here is the link https://www.theguardian.com/stage/2018/may/27/rambert-life-is-dream-kim-brandstrup-royal-ballet-swan-lake-liam-scarlett-review I wonder what other posters here think ? 

Both tx gone. 

£9 each. They are e tickets - message me if interested. 

1 hour ago, RuthE said:

 

 

 

 

I was there and I'm pretty sure he said "made her debut in this production on Saturday", or similar, which is accurate. I remember thinking whatever he said could be easily misinterpreted as being her role debut by anyone who didn't know otherwise, though

I agree I’m sure he said “debut in this production” 

I thought it was a bit of a mixed bag yesterday evening. 

I liked Akane Takada very much: she combines excellent technique with a vulnerability and fragility that works for the white act but she is equally convincing playing the vamp in the black act.  Unusually for him, Federico Bonelli seemed initially rather bland and subdued, he looked washed out in the costume. He is still a reliable partner even if he is now past the heyday of his solo virtuosity. He wisely chose to execute a more modest version of the black act solo than Vadim Muntigirov but even so, he seemed strained. However, it all came together in the last act; for me there is still no one who runs on to the stage with the depth of yearning that Bonelli can convey. This partnership was at it's best in the final pdd and I appreciated the beauty of Scarlett's additions considerably more than I did on the opening night. Nonetheless, the final moments where Siegfried disappears to gather the body of the dead princess still sits uncomfortably with the music.

These days nothing James Hay does is less than sublime in my eyes and his Benno was no exception. He has a beautiful classical line, so the costume which unfortunately tended to make others look like the Nutcracker, is more flattering on Hay. His dancing was superb; IMO he is the only man in the company whose classical technique rivals Muntagirov in its brilliance. His characterisation had an appropriate warmth and dignity. 

From my vantage point (stalls circle standing) the corps seemed slightly ragged - but frankly with the sheer number of shows and stage calls they must be exhausted.  

Ok thank you  

I am just bumping this up in hope .....

26 minutes ago, MargaretN7 said:

James Hay?

He just posted on twitter that he's looking forward to making his debut as Benno this evening

31 minutes ago, Sim said:

I agree Xandra and still don't understand it.  KOH seems to have put this rare and wonderful partnership on ice, and I am at a loss to understand why.    After all, they debuted beautifully in Sleeping Beauty and Giselle together, so why not this one??  Here's a chance to create another beautiful British partnership at the RB (a rare thing), and it's being let slide.  By the time we see them dance together again in a full-length ballet (assuming R&J next year) it will have been a year since Giselle.  A gap like that does not a partnership make.  As many of you will know, this is a real bug-bear for me:  what on earth does current management have against forming some long-lasting and special partnerships if they are there to be formed??  

14 minutes ago, Xandra Newman said:

 

Yes WHEN will we see them together again?? They were oh so lovely in Onegin, followed by their most moving performance in Romeo&Juliet, Sleeping Beauty, SPF and her Prince and in Giselle. Next Season they are again not cast together   in La Bayadere (Naghdi/McRae/Takada), in Nutcracker Naghdi will be dancing with Australian Guest Principal Jackson...so we'll have to wait until June 2019 to hopefully see them in R&J?? 

Drifting off topic a bit but although Naghdi/Ball have made some great debuts and dance well together, I don't feel the chemistry the way many on this forum do and of all the partners I've seen Ball with so far I actually loved him most with Lauren Cuthbertson in Marguerite and Armand. I could see them looking great in Romeo and Juliet. I'm looking forward to seeing Ball with Osipova in Swan Lake. 

If anyone has a spare please message me. 

It’s a very interesting read thanks for posting the link & I hope you don’t stop permanently ! 

16 minutes ago, Sim said:

Act 2:  Largely left alone.  All mime left in.  Thank goodness on both counts.  Love the set and the beautiful moonlit lighting.  I didn’t see Siegfried mime the ‘I swear’ sign to Odette, but I guess we are just supposed to guess that he has expressed loyal and undying love to her by that beautiful pdd. 

 

I wondered about the "I swear" because I didn't notice it at either the rehearsal or last night. It's slightly awkward if it's not there because Rothbart refers to it so specifically in Act 3 but I guess I'm straying into nit-picking territory  

9 hours ago, Bruce Wall said:

 Wasn't I fear so taken with the last act.  I missed the Russian rounds ... Scarlett is largely square.  I fear that aspect wasn't much to my taste - but I'm sure it will be for many others here. 

 

I also share all the extremely positive comments & like Sim I was a Scarlett doubter but he & Macfarlane have made a marvellous production. I look forward to seeing other casts but the memory of that Muntagirov variation will linger long. There were many xcellent performances but my particular standouts were Takada, Magri's big swan and Kaneko (in the same role at the rehearsal). The national dances in Act 3 were so refreshing since over the years these have become something to get through while waiting for the main event. 

The only less than enthusiastic response I had was to Act 4 where I share Bruce's reservation. it may just be that it gets a while to get used to different choreography - I think I'm correct in saying that this act is the most changed musically and choreographically ? Is anyone very familiar with the score who can tell me what was dropped and what added - this new version is more true to the original Tchaikovsky? 

Returned to the BO.

It’s an e ticket. Message me if interested. 

10 hours ago, Sim said:

Gosh, that's a surprise!  Sadly I don't have tickets for that cast as the dates don't fit.  I am quite surprised that they didn't put James Hay in there, considering what a great partnership he and Akane made in Sleeping Beauty.  Or what about Alex Campbell, after the amazing Manons they have just done?  As there does seem to be a Principal pecking order, wouldn't Alex have priority here?    Does William already know the role from his BRB days?  Mind you, this is a new production so I guess even if he knows the basics there is still a lot to learn.  I hope it works really well!

Disappointed that yet again an unexpected opportunity hasn’t gone to James Hay especially since, as you say Sim, he and Akane Takada danced that fabulous Beauty together. 

I hope Reece Clarke is feeling very pleased with himself for an excellent debut yesterday. With his beautiful looks and gorgeous line he's always going to be a pleasure to watch but the pleasure was much enhanced by his fine execution of those fiendish solos. Particularly notable was his control in the adagio sections and his light landings, they've been the downfall of much more experienced dancers.

The partnering came off brilliantly - the pair looked well rehearsed and the mishaps mentioned by others were insignificant (I've seen worse from established partnerships). What I found especially impressive was that the partnering was risky in the way that Macmillan needs to be, it's part of what makes me sit on the edge of my seat with my heart in my throat. Good for Lauren Cuthbertson who didn’t appear to hold back to accommodate her junior partner - she was as quick as she always is so he had to be absolutely on his game to grab her, and good for him he didn’t miss a trick. 

Lauren Cuthbertson just gets better and better, she's at the top of her game, I loved her interpretation and I loved her dancing. 

Gary Avis as Monsieur GM was outstanding, is it me or has he toned it down ever so slightly ? 

Although I enjoyed Ryo Hirano's Lescaut the other day, yesterday I found him uncomfortably close to turning the Lescaut drunk scene into a pantomime piece. 

I'm going but now have 2 spares D7 & 8. They are e tickets & free to good home. message me if interested. 

2 hours ago, Richard LH said:

(Cinema viewing).

Like some others, if I am reading correctly,  I thought Lamb and Muntagirov progressed throughout, from a rather  underwhelming Act 1,  to a more convincing Act 2 and a suitably powerful and emotional Act 3, where they really gave it all they had, and a bit more.

 

Live viewing here and I agree with you. 

First time I've seen Muntagirov's DG and maybe I was expecting too much of his opening solo but I was disappointed, likewise with the Act 1 pdds.

I was underwhelmed by Lamb's brothel solo, she lacked Osipova's sensuality. However, from then on Lamb/Muntagirov pulled out all the stops and it was worthy performance. It seemed to me that whereas Osipova chose to portray Manon as a girl who ultimately cared more about the money than DG, Lamb chose the alternative, both work with such thoughtful dance actresses. The end didn't move me to tears but I can't remember when Manon last did that. 

There are compensations in not spending most of the ballet eyes glued to the main man, there is the opportunity to appreciate all the terrific little cameos going on around the fringes : James Hay's beggar chief, Stix-B and Kaneko's courtesans arguing over Ball. 

Hirano impressed me, I don't usually warm to him but I enjoyed his powerful Lescaut. Some people might have found it a bit OTT but I thought it worked. 

I only went for M & A last night and am very glad that I did. What an electrifying partnership (more of them together please), what a fabulous performance, full of passion but nothing overdone. Matthew Ball danced and partnered beautifully but much more than that, he poured his heart and soul into a principal worthy performance. Lauren was the perfect Marguerite, cool and curious in the opening scene then swiftly abandoning herself to Ball's ardent and romantic Armand; the scenes between Marguerite and Armand's father (superbly portrayed by Gary Avis) were heartbreaking. 

I thought Richardson/Ball were terrific in Obsidian (Sissens/Ella at the rehearsal were equally powerful) but I agree with Sim that Bracewell lacked the leader's presence - I think he has yet to fully develop the McGregor style. I also thought that in the rehearsal cast Hay and Sambe had far more impact than their first cast equivalents - can't be sure who was who because the order is different on the rehearsal cast sheet. 

M & A was a disappointment. Yes Nunez & Muntagirov danced beautifully (although in his case not without a few little wobbles) but no raw emotion reached me from the stage. Nunez seemed far too overwrought, perhaps her choice of portrayal, perhaps with the effort of trying to extract a Nureyev from Muntagirov.  I'm sure Muntagirov poured his heart and soul into the performance but for me he's simply not a natural passionate presence. I felt that he could learn something from Bonelli/Shklyarov about transmitting to the back of the auditorium a hugely intense emotional fervour simply in the way they run on stage, even just stand still; and then there's the outpouring of grief as the curtain falls. 

It's a physical ticket but I will be there myself. Message me if interested. Anna

13 minutes ago, ninamargaret said:

well, many of us have thought so for some time.F irst noticed him in Month in the Country when, if memory serves me right, he then went on to appear in Symphonic Variations,, both danced beautifully

And then he was superb in Two Pigeons and quite outstanding as Prince Florimund. I really hoped he would have got a shot at Albrecht or Des Grieux  

28th has gone. 

13th back to the box office.

19th still available.