Royal Ballet: The Two Pigeons, Monotones I & II, November 2015 & Rhapsody January 2016

[SPD444]

I certainly win.  Taking in some NYCB too, mind, and considering some Miami City Ballet as well!

 

What about American in Paris, not seeing Ms Cope in that?

[bangorballetboy]

What about American in Paris, not seeing Ms Cope in that?

 

Booked for that too!  2 operas at the Met, 2 NYCB ballets, backstage tour at the Met and AAiP booked so far.  Plus Sarasota.

[SPD444]

DVD coming soon, just been announced by the RB. I have commented that it was a shame they could not also include Frankie's version, which I believe was also filmed, so we could compare her's and James' against Natalia's and Steven's

[SPD444]

Booked for that too!  2 operas at the Met, 2 NYCB ballets, backstage tour at the Met and AAiP booked so far.  Plus Sarasota.

 

WOW!  Sounds like a great trip BBB - have a fantastic time.

[WoodlandGladeFairy]

I am incredibly happy, according to the Royal Opera House website the Rhapsody/Two Pigeons (Osipova/McRae and Cuthbertson/Muntagirov) is going to be released on DVD and Blu-Ray - http://www.roh.org.uk/news/rhapsody-the-two-pigeons-to-be-released-on-dvd-and-blu-ray

 

Though I would love the Hayward/Hay 'Rhapsody' to be on the blu-ray but you can't have everything! I am just happy I can add another ballet to my blu-ray collection

Edited January 28, 2016 by WoodlandGladeFairy

[SPD444]

I am incredibly happy, according to the Royal Opera House website the Rhapsody/Two Pigeons (Osipova/McRae and Cuthbertson/Muntagirov) is going to be released on DVD and Blu-Ray - http://www.roh.org.uk/news/rhapsody-the-two-pigeons-to-be-released-on-dvd-and-blu-ray

 

Though I would love the Hayward/Hay 'Rhapsody' to be on the blu-ray but you can't have everything! I am just happy I can add another ballet to my blu-ray collection

 

Actually the ROH are asking for comments so why don't we gang up and ask them to include the Hayward/Hay version?  Power to the People.

[Melody]

Sabotaging? He owns Monotones, Rhapsody and Two Pigeons

He hasn't exactly been advocating for them, if this is the first revival of a major Ashton work like Two Pigeons for several decades.

Edited January 28, 2016 by Melody

[Fonty]

He hasn't exactly been advocating for them, if this is the first revival of a major Ashton work like Two Pigeons for several decades.

 

BRB have been performing it regularly, it is just the RB who have not had it in their repertoire for a long time.   

[Balletfanp]

I am incredibly happy, according to the Royal Opera House website the Rhapsody/Two Pigeons (Osipova/McRae and Cuthbertson/Muntagirov) is going to be released on DVD and Blu-Ray - http://www.roh.org.uk/news/rhapsody-the-two-pigeons-to-be-released-on-dvd-and-blu-ray

Yes!

[Tony Newcombe]

He hasn't exactly been advocating for them, if this is the first revival of a major Ashton work like Two Pigeons for several decades.

You know that for sure do you

[zxDaveM]

He hasn't exactly been advocating for them, if this is the first revival of a major Ashton work like Two Pigeons for several decades.

Don't Sylvia or Ondine count?

[Sim]

I certainly win. Taking in some NYCB too, mind, and considering some Miami City Ballet as well!

Double ggggrrrr....

 

I think you mean 'will', but you certainly win with that itinerary!

[Melody]

BRB have been performing it regularly, it is just the RB who have not had it in their repertoire for a long time.   

Well, yes, but this was a conversation about the RB and Ashton's place in the repertoire, at least that's what I understood from Floss's post 525.

 

I remember mentioning RB and BRB in tandem in a post a while back and was told pretty sharply that these days they're separate companies that both just happen to have Royal in their names. So I don't think the BRB repertoire is relevant to whether RB is performing the Ashton repertoire as frequently as it could.

 

Edited January 29, 2016 by Melody

[Melody]

Don't Sylvia or Ondine count?

That was a post specifically in response to one about Monotones, Rhapsody and Two Pigeons. So in that particular context, they sort of don't.

[Melody]

You know that for sure do you

 

Obviously not, but the alternative is that he's been advocating for them and being ignored by several ADs in succession, while those same ADs have been very attentive to what Kenneth MacMillan's heir wants. And as I said in a previous post, and others have also said, he's been saying that Ashton ballets are lost when that isn't necessarily the case. It doesn't sound like the behaviour of someone who is passionate about seeing the Ashton repertoire given pride of place at RB, and I'm not the only person who's said so.

 

Plus, in Floss's post 525 she said "If Jeremy Isaac's memoirs are to be trusted then the Royal Ballet's attitude towards its MacMillan and Ashton repertories are not simply a matter of chance or the effects of time and changes in taste but the result of decisions made by the company management not long after Ashton's death. He gives an account of a meeting at which he, Lady MacMillan and Kenneth MacMillan were present at which Lady MacMillan argued that as MacMillan was still able to make ballets the company should concentrate on his works rather than Ashton's which were old fashioned. Isaacs records that he was told that Anthony agreed with this approach and he says that he too agreed that MacMillan's works should be promoted."

 

If the person most closely associated with Ashton's heritage agrees that MacMillan's works should be promoted and Ashton's were old-fashioned, then it's not unreasonable to draw the conclusion that he hasn't exactly been advocating for them.

Edited January 29, 2016 by Melody

[Geoff]

"Isaacs records that he was told that Anthony agreed with this approach and he says that he too agreed that MacMillan's works should be promoted."

 

If the person most closely associated with Ashton's heritage agrees that MacMillan's works should be promoted and Ashton's were old-fashioned, then it's not unreasonable to draw the conclusion that he hasn't exactly been advocating for them.

One would have to check in the book (my copy is unfortunately in another city) but it is not clear from the quote that the "Anthony" referred to by Jeremy Isaacs is Anthony Russell-Roberts (there was at least one other notable Anthony working at RB at that point). Perhaps somebody could look this up? Edited January 29, 2016 by Geoff

[zxDaveM]

That was a post specifically in response to one about Monotones, Rhapsody and Two Pigeons. So in that particular context, they sort of don't.

 

Well, Montones has been done what, 2-3 years back, and Rhapsody seems to have been around several times since I first started going to ROH (in 2004). This a bit of a guess, but perhaps they didn't want to steal BRB's thunder by reviving Two Pigeons as it was in their rep quite regularly, so the incentive to revive it was less than urgent. The constant requests must have made Mr O'Hare change his mind! So not sure what you're getting at really, about lack of Ashton - there always seems to be some of his works every season (including those major revivals I mentined), competing with the clamour for new work, new work, new work, the big Tchaikovsky's (and MacMillan R&J) 'work horses', plus MacMillan works/revivals, plus pieces from the likes of Balanchine and new to ROH works from other choreographers - all squeezed into 11-12 programs a year.

Who'd be an AD, eh!!

[Two Pigeons]

As someone who cares pretty passionately about the Ashton rep and how it is danced I do wonder if Anthony Russell-Roberts has taken the decision that it is better to have the Ashton works danced as often as possible, even if it means sacrificing the required style, rather than shelved indefinitely.

 

The over prevalence of Marguerite and Armand productions would indicate that the performance rights are being handed out like sweeties with very little check on the quality of the shows.

 

From what I have read the Ashton rep has been in decline for a number of years and this is of great concern as the dancers who know how do it become fewer and fewer on the ground. For this reason I hail the comments and reviews of the Hayward/Hay performances as a very hopeful sign for the future. It would be terrific to think that the dancer's were as keen to dance Ashton as they are Macmillan.

Edited January 29, 2016 by Two Pigeons

[zxDaveM]

As someone who cares pretty passionately about the Ashton rep and how it is danced I do wonder if Anthony Russell-Roberts has taken the decision that it is better to have the Ashton works danced as often as possible, even if it means sacrificing the required style, rather than shelved indefinitely.

 

The over prevalence of Marguerite and Armand productions would indicate that the performance rights are being handed out like sweeties with very little check on the quality of the shows.

 

From what I have read the Ashton rep has been in decline for a number of years and this is of great concern as the dancers who know how do it become fewer and fewer on the ground. For this reason I hail the comments and reviews of the Hayward/Hay performances as a very hopeful sign for the future. It would be terrific to think that the dancer's were as keen to dance Ashton as they are Macmillan.

 

I know a few (young) dancers for whom dancing The Dream was their highlight of the season, so the keeness is there I reckon. And 'Fille' is always popular with everyone both sides of the orchestra pit (as I understand it anyway). Hope I'm not wrong on that one!

I do like (love in fact) a good number of Ashton works, but in my opinion, there are a few that are rather clunkers - usually more in the old fashioned design (e.g. the costumes for the male suitors in M&A are simply awful to my eyes). Not everything is genius - which is why I can sympathise with modern choreographers who don't seem to be given the chance to experiment but fail. For me, if they could revive the choreography but update the design, it would be more successful (though not always of course - see Rhapsody!). But some works I've seen should have stayed buried - though no doubt plenty would disagree with me, especially if they were more familiar generally with Ashton works (i.e. have been going to ROH a lot longer than I have).

[FLOSS]

zxDaveM.. I should be  interested to know which of Ashton's earlier works you think are " clunkers" and which would be improved by redesigning them.

 

I think that I need to clear something up. Jeremy Isaacs' book is about his time at Covent Garden and the context in which his reported conversation with the MacMillans took place has always led my to conclude that the "Anthony" whose consent he is being told about is Anthony Dowell. As the company's artistic director he had ultimate responsibility for its repertory.Being able to say the artistic director agrees gives the suggestion that MacMillan's ballets should be promoted and that the old fashioned Aston repertory  should be sidelined far greater strength than saying the owner of the bulk of Ashton's works agrees. It is the artistic director whose taste in repertory and dancing style which really counts in the sort of situation that Isaacs is describing.

 

The limited knowledge that I have of Anthony Russell Roberts which comes from talks that he has given does not persuade me that he knows a great deal about his uncle's works.I would not be inclined to assume that the decision to stage some ballets and not perform others had much to do with him in the past. He spoke to the London Ballet Circle while he was employed with the Royal Ballet and said that he was reluctant to promote the works which he owned. He indicated that he felt that being employed to look after the company's finances  would have made advocacy of the works inappropriate. What he said about them suggested that he did not necessarily have great personal knowledge of them.

 

As far as Marguerite and Armand is concerned it was created as a vehicle for Fonteyn and Nureyev and was never intended to have an afterlife. Presumably it was the desire of the artistic director to provide Guillem with a work that would interest her that led to its revival. The fact that the performance style was all wrong did not seem to worry anyone. Once it was unveiled a significant number of more mature female dancers seem to have decided that they would like to dance in it. As Mr.Russell Roberts is now retired perhaps he needs the money.  

Edited January 29, 2016 by FLOSS

[FLOSS]

I am not surprised that Kevin O'Hare has chosen to revive the Two Pigeons. I think that his decision has everything to do with the fact that he has a lot of very talented young dancers who may not all be ready for the big three act works but would benefit from stage experience performing the roles in this ballet. Pigeons is an ideal work for dancers at that stage of their career. The characters are portrayed through their choreography which is demanding but must look simple and natural in performance. It is a ballet which makes no concessions to youth and inexperience but is delightful when performed by young dancers. One of the reasons why it used to be performed so frequently as part of the RBS main stage matinee is that it provides four meaty roles.  As the current AD danced with BRB he had every opportunity to get to know its value as a theatrical piece for young dancers which, is no doubt, what Ashton intended it to be as it was made for the company which had been created, among things,to provide dancing opportunities for young and relatively inexperienced dancers.

[MAB]

As far as Marguerite and Armand is concerned it was created as a vehicle for Fonteyn and Nureyev and was never intended to have an afterlife. Presumably it was the desire of the artistic director to provide Guillem with a work that would interest her that led to its revival. The fact that the performance style was all wrong did not seem to worry anyone. Once it was unveiled a significant number of more mature female dancers seem to have decided that they would like to dance in it. As Mr.Russell Roberts is now retired perhaps he needs the money.  

 

 

I totally deplore the ignoring of Ashton's wishes over Marguerite and Armand and the fact that those that have danced it since the original cast have all floundered in the roles proves to me that Ashton was right in wanting it to die with its creators.

 

Perhaps if the ROH panjandrums had had a better knowledge of the RB's past rep they might have suggested Poem of Ecstasy to Guillem, an extraordinary ballet by John Cranko (a criminally neglected choreographer) that actually has a story line about an aging diva whereas Marguerite and Armand of course does not.

[Bluebird]

 

 

I think that I need to clear something up. Jeremy Isaacs' book is about his time at Covent Garden and the context in which his reported conversation with the MacMillans took place has always led my to conclude that the "Anthony" whose consent he is being told about is Anthony Dowell. As the company's artistic director he had ultimate responsibility for its repertory.Being able to say the artistic director agrees gives the suggestion that MacMillan's ballets should be promoted and that the old fashioned Aston repertory  should be sidelined far greater strength than saying the owner of the bulk of Ashton's works agrees. It is the artistic director whose taste in repertory and dancing style which really counts in the sort of situation that Isaacs is describing.

 

 

 

If you’re referring to the book entitled “Never Mind The Moon” I believe I’ve found the relevant passage (page 60 of the Bantam Books paperback) I hope it’s OK to quote a short extract.  In it, Anthony Dowell’s full name is given.

 

“Deborah MacMillan pointed out to me how many other works Kenneth had created for the company, some highly controversial at their premières, and urged that those should be revived.  Such a commitment to our greatest living choreographer would, Anthony Dowell knew, be a main charge on his necessarily limited range of programming and resource.  But it was a proper one. Ashton was dead; MacMillan was able to create new ballets and we would be celebrating his sixtieth birthday soon. Revivals of both men’s work would contend for place”

[billboyd]

Thanks for that, Bluebird.

 

Very interesting.

[Melody]

Thanks, Bluebird. Apparently I got the wrong Anthony, since I'd gathered from previous threads that Anthony Russell-Roberts didn't seem to be very proactive in promoting Ashton's work whereas I assumed that Anthony Dowell, with his knowledge of and success in dancing the Ashton repertoire, would have been more passionate in making sure it thrived in the company.

 

Then again, I'm not sure why Ashton's death should have made such a difference. Petipa was also dead, but that never meant his works should be sidelined in favour of living choreographers. MacMillan's own works seem to have survived his death rather better than Ashton's.

 

Anyway, I'm glad that the advent of homegrown new talent is coinciding with the revival of interest in some of Ashton's less frequently performed ballets. Hopefully we'll see Les Patineurs and a few of the others at some point in the none too distant future.

[Odyssey]

Floss makes an important observation in post 582 about Kevin O'Hare having danced with BRB and so was aware of the theatrical value of The Two Pigeons. It got me thinking about how much of the Ashton repertoire he would have known from his time at Sadler Wells and BRB. Apart from Monotones and The Two Pigeons, there were quite a few Ashton revivals during the Eighties/Nineties such as Jazz Calendar, Facade, The Dream, Les Rendezvous and Les Patineurs. Perhaps we can look forward to some of the less performed ballets on this list making a return. I was also struck by the number of Cranko ballets which were being performed in the era when O'Hare was there. I would love to see him introducing more Cranko into the repertoire of the Royal Ballet.

[Jane S]

If you happen to have a copy of Following in Sir Fred's Steps it's worth looking up the round table discussion about dancing for Ashton - some fascinating stuff in there, especially - in this context - Collier talking about Rhapsody and saying how she changed her interpretation after she saw Merle Park dance the role, 'calming down' a bit!

[Two Pigeons]

Floss makes an important observation in post 582 about Kevin O'Hare having danced with BRB and so was aware of the theatrical value of The Two Pigeons. It got me thinking about how much of the Ashton repertoire he would have known from his time at Sadler Wells and BRB. Apart from Monotones and The Two Pigeons, there were quite a few Ashton revivals during the Eighties/Nineties such as Jazz Calendar, Facade, The Dream, Les Rendezvous and Les Patineurs. Perhaps we can look forward to some of the less performed ballets on this list making a return. I was also struck by the number of Cranko ballets which were being performed in the era when O'Hare was there. I would love to see him introducing more Cranko into the repertoire of the Royal Ballet.

I would be very interested to see if Valses Nobles and Sentimentales would ever be revived. Kevin was in the cast which worked directly with Ashton on it.

[SPD444]

Just home from the Principal free matinee performance and what a joy to watch such wonderful young talent on display. Every part of Francesca's body has music running through it - different to Natalia's interpretation  but, for me, perfect. Beautifully partnered by James Hay, they both seem to caress the music in their steps. Particularly in the first pdd, took my breath away. Not to be outdone Beatriz and Matthew were a superb young couple in Two Pigeons. The innocence and cheekiness in Beatriz was a joy to watch and the final pdd, wonderfully played by the orchestra ( they are on top form under Barry ), was truly heart wrenching.

 

Let us not forget the Rhapsody ladies in particular and the boys who accompanied the two leads perfectly, Claire was a seductive gypsy girl dancing with panache and the boys and girls filling the stage with joyous dance.

 

Not a bad way to start a Saturday.

[Jillykins]

I enjoyed Thursday evening too. I have fallen in love with Rhapsody, can't get enough of it. Yuhi was charming and Zucchetti gave a good performance. The girls and boys lovely to watch. Real teamwork. I became more aware of the Ashton choreography, those lovely lines, sudden changes of direction. In both ballets the girl rolls round her partners body and ducks under his arm.

I loved Hikaru as the young girl in the Pigeons, beautiful epaulement, fluttering arms and feet that trembled just like a bird. She was totally believable as a mischievous girl and then as a sad girl only to show a change in maturity in the last pas de deux. Sad that the beautiful ending was slightly marred by a very errant pigeon. He didn't want to go on the chair a no fancied a wander round the stage. Well done to Hikaru and James Hay for managing to retain the atmosphere. James gave a splendid performance altogether. The gypsy dances were like looking through a kaleidoscope of ever changing pattern and colour.

Please Mr Ohare bring back more Ashton, for me Ondine. So good to see so many young dancers being able to develop their skills.

[zxDaveM]

I think you mean Akane (Takada) young Jillykins - but agree with you assessment  :-)

[Jillykins]

Sorry you are quite right, I do get names muddled. Of course it was Akane, she was so lovely I should not have got her name wrong. Thank you so much for correcting it.

[Vanartus]

Finally say Francesca Hayward - truly wonderful. Ashtonian, light, flexible, pliant yet exotic and other-worldly. Stunning.