annamk

I saw Lantratov & Vishneva opening night in Paris and I thought they had a fine performance. Lantratov is a lovely dancer with a vivid, warm stage presence and Vishneva was exceptional both dancing and acting.  I didn't see Hallberg and Obratzsova but I friend saw both casts and preferred Lantratov/Vishneva. I didn't find the ballet compelling but it was a treat to see the Bolshoi and being Ratmansky it's packed with dancing and being the Bolshoi the dancing is all very high standard. If you plan to see it at the cinema I'd recommend watching the clips on Youtube beforehand and reading the synopsis, I found it helped my appreciation. 

LOL ! I am a "mature" part time student of sorts but I doubt that counts ! I meant no stalls circle standing. 

At 10 this morning (supporting friends booking) I was unable to buy any Stalls circle standing for 2 of the Osipova/Acosta Giselles and by 10.30 there seemed to be virtually no standing left for any ballet performances in this booking period. 

 

I think the use of the word 'star' can cloud the issue.

 

My 2p is that RB don't have enough good male principals at the moment - not just numbers but also capability of some who currently have the badge. No one person is going to like all the appointed principles I know, but I go down the list and the abilities (can they act?, are they technically good enough? Have they the height/bearing to be a pukka danseur noble? Do they seem prone to injury? Are they nearing the end of their career? Are they reliable in a role? Can they partner well, etc etc) and I get to the end and don't feel so good as I have in earlier years. It's not all doom and gloom, but the list is not really good enough for a world class company I'd say. The dancers who have left weren't at the bottom of the pile, they were from the top - the overall package of quality goes down. Hiring Osipova is great, but I actually expected to see hiring on the boys side.

I agree with you Bruce athough I feel even more gloomy than you and think that barring a few obvious exceptions the line up on the female side doesn't look so wonderful either. Disappointingly, also there isn't a single compelling partnership - I mean where the man and the woman are equals. All of this highlighted by the wonderful Bolshoi dancers  

Going a little off topic, can I say how much I disliked the original article and in particular the rudeness towards Nikolai Tsiskaridze.  In general I don't think this Bolshoi season was as successful as previous ones.  It was clever to end on a high, but apart from Jewels, there was little excitement in the frankly dull productions of the classics.

 

And no, a star certainly was not born with Olga Smirnova's London debut and I find it disquieting that the UK critic's were either blind to her obvious technical defects or chose to ignore them.

Swan Lake was dull yes but not Bayadere or Sleeping Beauty. Anyway, the excitement was in having the opportunity to see wonderful dancers throughout the company. 

Really, all of them blind ? Well me too then because I loved Olga Smirnova's performances - particularly in Diamonds. 

 

 

Maybe she was punished for her recklessness, because I was expecting to see her last night in Sleeping Beauty but she was replaced by Krysanova.

 

 

The casting for last night's Beauty was changed to Krysanova about a week ago - it was on the Bolshoi website but not on the RoH for some reason.

I don't think Obratztsova was on poor form at all on Saturday. She fell out of all 3 pirouettes in the scarf pdd that's all - yes it looked slightly messy but these little things happen to the best dancers from time to time. In every other respect her performance was lovely.

The Bolshoi "Shades" could also take a big lesson from the RB's "Shades", as seen in their recent La Bayadere run! They were stunning and the scene was danced to perfection at all 5 performances I watched. 

Errr I agree the RB shades were good but "the Bolshoi shades could take a big lesson" from them ? I really don't see that at all.

Briefly on the performances ..... I watched all three and I'm far more positive than some posters here.

The opening night obviously suffered from the unfortunate accident to Alexandrova - I have heard that there was no contact between her and Lantratov, her achilles tendon just snapped. Over the three performances, I saw some wonderful dancing at all levels of the company. Yes there have been small wobbles such as Obraztsova's scarf scene mentioned by a poster above but I found that a minor distraction in an otherwise excellent performance from her. Lantratov has a fine stage presence and is a fabulous dancer. His Act 3 variation was terrific, extraordinary height on his assembles (?) and panther light landings. Smirova has to be seen to be believed, she was exquisite - Sarah Crompton has just published her review 5*. I could go on and on Zakharova, Chudin, Tikhomirova, Krysanova, Stashkevich, Khoklova, Alizade.

Unlike the Bolshoi Swan Lake I love this production and I much prefer ending with the shades scene as Jann Parry notes in her excellent review for Dance Tabs.

My only gripe is that they didn't schedule more than three performances of Bayadere.

IMO it's knock your socks off. If you look on YT you can find plenty of clips of the Fri cast because they danced the live relay earlier this year.

I agree with the point that for the majority of the audience at Covent Garden they like to see principal casting but the identity of the actual principals is not important. The one Covent Garden principal who seems to have a personal impact on ticket sales way ahead of anyone else is Carlos Acosta. Unlike nearly all the recent visitors to the Coli he's had no trouble selling it out.

If anyone is interested in contributing to a flower throw on Wed evening please send me a private mesage via balletcoforum. Thank you

What a pity ! I really enjoy looking at the photo galleries. So few images appear in the press or the ROH programmes the galleries are much appreciated. Hope the RoH can be persuaded to change their minds.

Thanks Meunier !

Forgot to say the most important thing - So what do people think?

 

My v brief thoughts:

In the interval last night I was pretty unique in largely liking what I saw. But by the end I had had enough - it does drone on and the partnering is not so different. Thought the designs and score wonderful and stellar performances from Morera and McRae. The false and real ending needs sorting out. Its also a very long way removed from the original H&G story I think - it unhelpfully wrong foots you. Sweet Violets was a better ad for Scarlett in my book. BUT good to see the Linbury being used in such an interesting and innovative way - more chamber works please.

My very brief thoughts.The sets were excellent although the traverse arrangement restricted the sightlines badly from some parts of the auditorium where you would normally expect a clear view. The recorded music was atmospheric. The dancers performed with commitment. Ultimately though I found the evening one of the most deeply unsatisfying I can remember at the RoH. Full of tired cliches, eg Laura Morera in a slutty nightdress with black stockings and suspender belt... please. The choreography was entirely unmememorable and interminably repetitive. Liam has done some wonderful abstract work for the main stage but IMO he hasn't found his way yet with narrative ballet: perhaps he needs to try something lighter than the dark, violent storylines of the last two pieces.

I'm less enthusiastic than others about last night. Matthew Golding has great elevation and delivered his solos at least as well as the RB men but I thought he wasn't an ideal partner for Zen. He's not tall enough for her so the partnering wasn't smooth and effortless and I don't feel they have very complimentary styles or looks. Understandable nerves on his part might account for the lack of warmth (& resulting lack of chemistry) in the Act 1 pdd.

I remember Zen's debut - she was as wonderful as Clement Crisp said :-

http://www.ft.com/cms/s/0/791b819c-7ddd-11dc-9f47-0000779fd2ac.html#axzz2S997ikIs

My ds and I are going Sunday. I hope its better than what people are saying:(

Makes a change to treat my ds to watch a ballet as he is normally in them.

I and my friends saw the rehearsal and the evening performance and we all thoroughly enjoyed it. It was refreshing to see a different version of this ballet as I've only seen MacMillan (many times). I'm very glad to have seen it and thought some of the critics were unduly harsh, I'm much more in agreement with Judith Mackrell's 4 star review. On the opening night there was a standing ovation from many people in the stalls.

I can't get that performance of Giselle out of my mind, totally unique, not like a performance at all more like watching an actual tragedy being played out.  Novikova was so unearthly in the second act and her balon made it seem as if the stage was a trampoline.  Sarafanov was superb all through and the final moments as he lay beside her grave beating his fists on the ground in anger and frustration at his loss........... what an artist!

 

He would be a great asset should the RB care to consider him, but Novikova too could bring a lot to the company and don't forget they are two female principals down at present.  She is not among the 'favoured few' at the Kirov, but if I wrote here about how I consider the company to be seriously mis-managed I would probably earn my first public warning!

MAB you may know this anyway but (if you don't you will find it interesting) there's a long thread about the Mariinsky - casting etc on this US site http://balletalert.invisionzone.com/index.php?/forum/63-kirov-mariinsky-ballet/

What I love about Osipova is that you (well, at least 'I') get the sense that there is something there to fight with - and she's not frightened to show that in the specifics of her performance.  'Take it or leave it' she cries - much as Makarova - another Natalia - so bravely and so joyfully reveled in before her.  As Hallberg pointed out last week in an insightful interview quoted within these pages' links (and, boy, did I come away SO admiring him after that), Osipova is UNIQUELY a dancer who ENTIRELY responds to the environment that surrounds her.  Otherwise, as Hallberg pointed out, 'she simply can't'.  I, too, was disappointed by much of the outcome of her RB performances in SL.  Now, perhaps, I better understand.  Perhaps she was simply responding to the vulgarities that make up so much in that particular production's climb.  If that WAS the case - and certainly I didn't understand that at the time - then I am proud to admit my own failing.  Listen, I am wholeheartedly with you NOW, Natasha.  'Go for it, girl', I proclaim: 'Bless you.  Bless you for simply BEING NATALIA'!!. Above all, it's your guts I admire - and I sense - above ALL - it's that aspect which draws your cheers and will persist in your battle against time.  BRAVA! 

Thank you for drawing my attention to the Hallberg interview Meunier. What Hallberg says about Osipova is fascinating & sad that he feels as he does about himself. It came into my mind as I read it that Alina Cojocaru has surely found her individual voice.

The ENB code EMERGING isn't working for me online & I can't find a link to the offer. Has anyone else tried ?

Here are a couple of sample photos from the current revival of Alice's Adventures in Wonderland by the Royal Ballet. Young Beatriz Stix Brunell has made the part her own, I reckon!

The Friends rehearsal was the first time I'd seen her dance Alice and I thought she was fabulous !

Edited to make sense !

Ismene Brown has posted available preliminary casting for some dates, not sure where she found it but gave cut & paste from her article thus morning.

Swan Lake - 29 July, Svetlana Zakharova/ Ruslan Skvortsov; 15 August Olga Smirnova/ Semyon Chudin

La Bayadère - 2 August, Zakharova (Nikiya)/ Maria Alexandrova (Gamzatti)/ Vladislav Lantratov (Solor); 3 August (eve) Smirnova/ Ekaterina Krysanova/ Chudin

The Sleeping Beauty - 5 August, Nina Kaptsova (Aurora)/ Ekaterina Shipulina (Lilac Fairy)/ Artem Ovcharenko; 6 August, Zakharova/ Smirnova/ Ruslan Skvortsov; 8 August, Maria Alexandrova/Smirnova/ Semyon Chudin

Jewels - Emeralds: 12 August, Evgenia Obraztsova/ Lantratov; 13 August, Kaptsova/ Dmitri Gudanov;

Rubies: 12 August, Ekaterina Krysanova/ Gudanov/ Shipulina; 13 August, Kristina Kretova/ Andrei Merkuriev/ Yulia Grebenshchikova

Diamonds: 12 August, Svetlana Zakharova/ Alexander Volchkov; 13 August, Olga Smirnova/ Semyon Chudin

The Flames of Paris - 16 August, Natalia Osipova /Ivan Vasiliev

Including the General rehearsal I've seen this triple 3 times. I really enjoyed all the performances of Apollo (Pennefather, Acosta and Bonelli) and to choose between the casts would be nit picking for me because I thought they all performed well and each cast brought something slightly different which made them all worth watching.

Unlike other posters above I thought the Ratmansky was ravishing. At the rehearsal I might have agreed that it was everso slightly too long but not now. I think the dancing has improved with each performance, particularly so this afternoon, maybe with first night tension out of the way. It seemed the dancers relaxed so all the clever detail in the choreography had much more impact. I feel I could watch it all over again and find something new and different in it. I love the way the tempo changes suddenly and dramatically and how Ratmansky has used his dancers singly and together so effectively. I like the costumes especially now the men's tights which were black at the rehearsal and first night have been changed to pale grey this afternoon. It was beautifully lit too. Personally, I think it's a work of genius. Of specific dancers I only want to say that I have been astonished by Rupert Pennefather: both as Apollo and in the Ratmansky. I don't think I have ever seen him dance with such intensity and commitment. Ratmansky (and/or someone else) has coaxed out of him some beautiful footwork and a charismatic stage presence to add to his attractive physical one. The whole package - I hope we see more of it.

The Wheeldon has grown on me and I very much liked watching it this afternoon. It is clever and has been beautifully danced - of course by Marianela Nunez but equally by Clare Calvert who has a lovely lyrical quality to her dancing and seems to fill the stage. I don't love it yet and I wouldn't rush to see it again.

I've seen those interviews and both said Polunin would be dancing in Coppelia in July, I think the 2nd interview was in the Times which specifically mentioned the Coliseum ? I did then look at the Coli website and there appears to be a slot after Boston Ballet.

It certainly was glorious, even better than Tuesday

I watched on Friday evening which ended with a glorious performance from Tamara Rojo and Sergei Polunin in M&A, ......

Interesting...I didn't like Guillem in it at all. She might have been fast, but she left me cold. Audience reaction is often muted when the curtain goes down on a  tragedy...there is silence, then it starts slowly and builds. This always happens at the end of R&J, Manon and Mayerling. Onegin  ends sadly but without a death. Voices has a happy, jaunty end which naturally spurs immediate applause.   I don't think either type of response is a reflection of what the audience necessarily thinks of the dancers at first. Yuhui and Alexander thoroughly deserved their applause, they were wonderful!

I think you're spot on about the applause Sim. I think it really destroys the atmosphere of a tragic ending if people start clapping or bravo-ing before the curtain is down. I'll never forget an early (maybe even his debut) Mayerling of Johan Kobborg. It was such a devastating performance that at the end there was complete silence in the auditorium for a couple of minutes which said it all really.

I couldn't see any names of those coming on VH website now at all.

The names appear listed as "Principal Dancers ...." after the Flames of Paris picture. I suppose they could just be listing the company principals although Olga Smirnova is included in the women.