annamk

I was also at the Clapham Picturehouse which I thought was almost full and not entirely of OAPs ! I would have gone to my local cinema at East Finchley but even a week ago it was sold out. I have to say I LOVED everything about the performance. It was sumptuous and so suits the fabulous looking new Bolshoi theatre with it's enormous stage. OK it's a daft old romp of a ballet (as Clement Crisp might say) but who cares with dancing as superb as the Bolshoi at every level. It was pure pleasure to watch men and women of the corps move in complete harmony and soloists with wonderful clean technique. I particularly noted some lovely men given the "vacancy" at the RB: I think Kevin O'Hare might consider pinching Ruslan Skvortsov to replace the dear departed Polunin.

Indeed thank goodness it got better although I wouldn't know since it was me who bailed at the end of Act 1. I thought Ed Watson was mighty disappointing: his Act 1 solo's were indeed ragged and his partnering was frankly poor. I realise they probably didn't have much time to rehearse together but he is a principal after all, he has danced the role many times before and I would have thought he could have served Melissa better. The awkwardly fumbled lifts cannot have helped her confidence. To be honest I think the two pdd in Act 1 were very disappointing in every respect. Melissa is certainly a beautiful girl and she is fabulous in modern pieces but I fear she needs a stronger technique to carry off the roles she has been given recently: Sugar Plum Fairy and Juliet. As far as her acting is concerned in Act 1 I think she was either overwhelmed by nerves or by Watson's overpowering Romeo since she was not able to project much at all. A pity she only had one show in this run and it wasn't with her originally scheduled partner who might have been a better balance for her, although he too has his challenges with the role.

The RoH website is now showing Ed Watson (replacing originally cast Rupert Pennefather) as Romeo opposite Melissa Hamilton's Juliet (her debut) in the matinee this Sat 10th March.

Assuming Polunin's comments are sincere this interview is so interesting especially this

"He (Polunin) says he wishes ballet companies would do a month of rehearsal and then 30 performances of the same show, "so you're just enjoying being on stage – not rehearse for a month then have one show, rehearse for another month and change the show. What's the point?"

"So you would repeat a show 30 times?" asks a baffled Putrov."

which is exactly the opposite of what I'd expect and it seems the reason he quit is far more prosaic than some of the speculations: in spite of his extraordinary talent he just didn't LOVE dancing. Very sad for us the audience.

But then, I thought Stepanek was brilliant as Paris, really into the character. It takes all sorts.

Me too, I thought Stepanek's Paris was very well judged.

To my eyes Alina Cojocaru in Act 3 gave one of those very rare, most memorable performances that you can wait a long time for and that make you feel fresh & powerful emotion in a work you thought you had grown tired of. I thought she was absolutely phenomenal.

I have never seen the RB's performance of The Dream, and really wish they would bring out a DVD. I have the ABT one and Puck is indeed amazing. But having watched the footage of Ashton coaching Dowell and Sibley in the final pdd, it was clear that Ferri and Stiefel's version was very different. As for Titania being charming, Ashton says in that video that he didn't want her to be sweet but to have a farouche quality , which Sibley definitely has but Ferri doesn't.

I agree with you. I watched the clips of Ashton coaching Sibley and Dowell and then the clips of Stiefel and Ferri both on youtube. I didn't think they got what Ashton was looking for. The pdd has too much of the quality of a romantic pdd between two people, they don't capture the otherworldliness of the characters at all.

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The existing acceptable use policy for Balletcoforum is the same as the old Balletco which it came into being many years ago. One of the tasks the committee has set itself is to review the appropriateness of the policy in today's world. In thinking about the policy we are looking at what other similar sites do and canvassing views from forum views on the policy. So folks over to you .... any thoughts to feed into the deliberations ? To get you going some issues to consider are: allowing blogs, critics, companies, self-promoting, hostile & highly critical reviews. Over to you.....

Review - Royal Ballet Dream/Song Louise Levene from yesterday's Sunday Telegraph magazine now on line

http://www.telegraph.co.uk/culture/theatre/dance/9074691/The-DreamSong-of-the-Earth-at-Covent-Garden-Seven-magazine-review.html

In his recent review of The Dream/Song of the Earth Clement Crisp remarked that

"Both works show the Royal Ballet’s real qualities far better than any of the care-worn ‘classics’.....The Royal Ballet boasts a grand treasury of short ballets, covering a century of creativity. Not, alas, that we see these with any regularity."

I thought this was a really interesting point and wondered whether others agree with him and if anyone knows what lies languishing in the treasury that they would like to see resurrected or performed more frequently than some of the old war horses like Swan Lake.

Indeed John. He must have liked it so much he went to see it again - I can empathise with that I've been 5 times ! Actually I meant to say that I thought this point in his first review

"Both works show the Royal Ballet’s real qualities far better than any of the care-worn ‘classics’

was absolutely spot-on ! I wonder what other treasures there are in the RB rep that are worthy of resurrection ? See thread in What's Happening .....

Gosh blow me down .... that's the first compliment I think I've ever seen Clement Crisp give Roberta Marquez !

Review Royal Ballet Dream/Song late out (I think) this one from Gerald Dowler (Classical Source) "The Dream shimmered as it has not done for many a season, indeed, the performance ranks as one of the best I have seen in 30 years of ballet-going."

http://www.classicalsource.com/db_control/db_concert_review.php?id=9923

Wonder what anyone else on this forum thought of Gomes as Oberon last night ? Vary different from Steven McRae which made it interesting to observe. His characterisation was excellent and his mime crystal clear. His partnering of Alina was generally excellent although there were a couple of points where he rather tossed her around - I guess he's used to heavier girls ! But these things had to be good because his solo dancing was really so-so, he just didn't have the footwork and it looked as though he didn't even bother to try some of the difficult solo work in the scherzo section. Interesting to have the opportunity to see him in London although I didn't see anything to warrant bringing him back as a guest in other roles rather than using RB dancers.

I can think of several young dancers in the lower ranks of the company who would be capable of giving the role of Oberon a fair go. Just to mention one, Benjamin Ella was preparing the role for his graduate performance but never got to do it because of injury. Of course there are other factors in this case, firstly the lack of adequate preparation time and secondly the fact that Cojocaru, as an established ballerina, no doubt has plenty of say in choosing her partners. For all I know she may have danced with Gomes when guesting with ABT.

Gosh Benjamin Ella as Oberon ? I know he joined the RB as someone with potential and was then unlucky with injury but to be honest I can barely recall seeing him dancing since he joined, was it 2 years ago. I would like to see him stand out in some minor roles before I was convinced he could give Oberon a fair go.

Yes that's right re Valentino, he certainly deserves to be used more.

Re Don Q, indeed who could dance it ? As the most vocal member of the Steven McRae fan club on balletco I have to add his name ! I think Kobborg is too old now (ouch, sorry) and Bonelli hasn't really got over his op properly at least not on the evidence of his solo dancing in Romeo recently.

It is a depressing situation.

If I look below principal level at who I would like to see in a major/principal role right now because I think they "may be ready to tackle it" then I can honestly only pick Akane Takada, definitely as the Sylph and Aurora and possibly other roles too. Very close is Valentino Zucchetti but I would wait maybe another year then I would say I would like to see him as Solor and plenty of other roles, definitely Colas.

I also like James Hay but I can't think of a specific role that he is ready for yet.

Edited to add some more ....

The RB management obviously thinks Melissa Hamilton is ready for Juliet and we don't have long to wait to make up our own minds.

I think I am probably being harsh on what "ready" means but to me Akane and Valentino have so much more potential and once I have picked them I find it harder to add others. Another thought is that it is harder for the men because of the demands of the partnering.

In the 'old days' having a guest dancer in a major company was usually for a treat for the audience and the dancers. Now, it has become much more commonplace so we are all a lot more blase about it. However, when it gets to the point where companies are having to bring in 'outsiders' just for cover, that is not good news. It isn't only the RB; there has been lots of chatter recently about how ABT is having to constantly bring in male guests. Is this perhaps a sign that we really need to worry about what will happen in the next generation? Maybe dancers at the 'lower levels' should be given more chances to learn these larger roles? And then actually perform then instead of just being emergency cover as a last resort?

 

For example, Brian Maloney got one performance of Colas with Yuhui Choe two or three years ago; Sergei was supposed to be doing it with her in the upcoming run. Now would be a wonderful opportunity to let him do it again, and show that we do have very good dancers who can do these roles if given more of a chance to dance. That is just one example amongst quite a few.

Maybe it's quite hard for. Company to work out if someone in the "lower levels" is really ready. I remember when Kobhorg was injured in 2007 McRae stepped in to his Romeos and the rest is history but Zachary Faruque, another promising young dancer, was given one of his Solors's which whilst it wasn't a disaster it didn't go terribly well and shortly after that he left the company to pursue a career outside dance. Of course it's possible the two things are unconnected or I remember the timing wrongly.

As for Brian, it's great to see him back on stage but I have a hankering to see Alexander (one of these days I'm actually going to write Alistair) Campbell as Colas. Did he dance it at BRB ?

The Telegraph is clearly being very slow off the mark with regard to its review of the Dream/Song triple bill, but has at least got an obituary for Rudi van Dantzig online now: http://www.telegraph...an-Dantzig.html

There was a review in the hard copy Telegraph today but it's not online. It's by Laura Thompson and she gives it 4* . She described most of the cast of Dream as looking "vaguely shell-shocked" & McRae "seemed uncharcteristically overwhelmed by his spinning solos." Of Carlos and Tamara in Song she says "What true, intelligent artists these two are..." Hopefully it will appear online soon.

Right, thanks. I couldn't remember.

 

 

 

He danced in the 2005 one - just before he got promoted - and in the last one. 2008? 2009? Was that with Dances at a Gathering? (first run - he was Green in the second).

 

 

 

Yes, I agree, except about the virtuoso part - I don't think that's quite what's needed (and they certainly wouldn't have cast Watson, or probably Kobborg either, if it were). But what it does require - and hasn't always got - is speed.

Oh I WOULD describe Kobborg as a virtuoso dancer, not quite so sure about Watson, but I put both in the not spring chicken camp for the purpose of Oberon. Also I wouldn't say Polunin has speed but he does have virtuosity. Maybe we're splitting hairs here and I hold my hand up and say I'm not an expert.

Really it shows poor succession planning especially as some of the top RB dancers are not exactly spring chickens any more.

Exactly.

Steven McRae was injured months before The Dream last time, I think Johan and Alina were the 1st cast and I have a feeling Ed didn't dance in the last run but the one before that ? in 2004. I reckon the RB would have made sure there was no visa issue before announcing the casting. Going back to the issue of a cover - isn't the point of a cover that they are more or less up to speed so that they can step in if necessary ? I think the problem is deeper for the RB and it's a shortage of experienced but still relatively young virtuoso (I think that's the right term) male dancers.

There's been a bit of a debate on twitter about the Royal Ballet and guest artists, specifically Marcelo Gomes coming to dance Oberon, wondering what folks here think ?

Personally, as opportunities to see Herman are few and far between I'm happily looking forward to it although I'm worried that the RB doesn't have anyone else who is ready to dance Oberon - in my opinion there isn't anyone. Which leads me on to worry that the company is not currently in a position to put on ballets like Rhapsody, much as I love McRae he can't dance them all.

Anyway, I'm sure there are plenty of folks who disagree with me !

I love rehearsal photos (in the studio not in costume) - it's one of the things that makes me decide whether or not to buy the programme. I often think the RB are lazy and re-hash the same articles and photos that were in the programme last time round.

Good for her, she's a wonderful dancer and the Mariinsky were mad to let her go. I do hope we get to see her in London soon although it's not looking like it .....