English National Ballet: Le Corsaire, Winter 2015/16

[Living the Dream]

Completely agree North star! Wish I could see another too!

Corrales is only 19? Oh my what delights have we got in store for the future? I'm seeing R&J next week so maybe he'll be there again as mentioned by Cavycapers:-)

Don Q Fan, I will be watching both performances of R&J next week in Manchester on Saturday.  As soon as I know the casting, I'll let you know. If you're there it would nice to say hello. LTD

[Geoff]

Janet,I wasn't trying to wind you up.I do understand that towns and cities north of Watford are not one large undifferentiated place called "Up North". I apologise for my mistake but I was told it was Liverpool. I shall, in due course, take my informant to task.At regular intervals people who post on this site express amazement and concern that ballet programmes that they consider to be well worth seeing fail to attract audiences in the numbers that they expect.I have been to Birmingham on a number of occasions and been amazed by the number of empty seats at both matinee and evening performances of some mixed bills. The Ashton mixed programme was sparsely attended on the day that I went.It isn't just mixed bills that fail to attract audiences the RNZB Giselle at Canterbury had a very small audience at the matinee.Now I know that there is a quip that says you can sell tickets for any ballet as long as it is called Swan Lake but it seems to be increasingly the case that the average non balletomane is rarely tempted to buy ballet tickets and that if they do they are more likely to buy tickets for Nutcracker and Swan Lake than anything else.When companies go on tour their touring venues are usually towns which are hubs in their locality for shopping and entertainment within easy travelling distance of a significant population and yet companies often fail to fill the theatre for the duration of the visit. I know that BRB does smaller scale tours but even then the choice of venue is a town with a theatre which attracts audiences from the surrounding area.Do you think that the failure to attract audiences reflects a general lack of interest in ballet or a failure by companies to sell their product effectively.If it is a lack of interest in ballet when did the interest begin to decline and what, if anything, can be done about it? If it is a failure by companies to sell their product effectively what should they do to improve their ticket sales?

Around 15 years ago Pete Long’s "Echoes of Ellington" toured with ENB doing Ellington’s Nutcracker. They had a few performances in Sunderland and were told by the Arts Council to keep their losses under £100.000 I think it was (those were the days). They sent a ballerina and a pianist into every primary school in the area over a period of two months and then covered the town with posters showing, if I remember right, a ballerina hugging a tradesman. The message was along the lines of "Come to the ballet, it’s only ten quid, why not try it?" Every performance was packed and they made £101,000, so just in the black.

[alison]

Don't you mean BRB, Geoff?  I don't know when ENB were last in Sunderland.

[capybara]

Don Q Fan, I will be watching both performances of R&J next week in Manchester on Saturday.  As soon as I know the casting, I'll let you know. If you're there it would nice to say hello. LTD

LTD - the Manchester casting for R&J is on another thread on here. Or visit ENB's website.

[capybara]

I think that I can guess who the Audience Choice Award is going to go to this year./quote]

 

Yes - almost no contest! He will feature strongly in the Coli season too.

[Harwel]

I was amazed he wasn't chosen last year. He certainly was my choice. Glad he's getting lots of recognition.

[northstar]

Today I attended the Saturday matinee of Le Corsaire in Liverpool (attended the opening night too which I have already posted about).

 

The leads were Tamara Rojo (Medora) Isaac Hernandez (Conrad) Shiori Kase (Gulnare) Jinhao Zhang (Ali) Fernando Bufala (Lankendem) Yonah Acosta (Birbanto). A similar cast to opening night, with a notable difference that  Zhang replaced Cezar Corrales at short notice due to injury. Corrales made a big impact on opening night as has already been discussed in this thread.

 

Once again it is simply a delight to watch Rojo's dancing. I find it amazing that she manages to maintain her dancing practice with directing the company  and every time I see her dance or hear her in an interview, I am filled with admiration. She is an inspiring person. She was combining her dancing in Liverpool with a panel discussion yesterday eve at the Tate on art, and I cannot imagine how she balances her public, adminstrative, managerial, artistic occupations. In the dancing alone, the touring and galas she undertakes must be demanding enough, and the standard she maintains is exceptional even among principals. And what a showcase Medora is for her - I've mentioned in my previous post the technical details (I forgot to mention Italian fouettes among everything else!), but it's the individual quality she brings to everything that is special.

 

Although others have already mentioned the exciting talent of Corrales, but I thought Zhang did a sterling job, and his soaring jetes at the entrance of the Act II pas d'action started off another brilliantly delivered showpiece. It's really Hernandez that I particularly admired most among the male dancers today and on opening night, clearly a great acquisition by ENB; once more, an obviously exceptional quality of movement.

 

I could probably write many more paragraphs on this ENB Corsaire. The highlight of the dancing for me, apart from the Act II pas d'action, was the opening section of the Act III jardin anime scene, which combines the serene beauty of the ensemble with the central intensity of Medora performing stunning balances, and with Rojo in the role these balances were particularly emphatic. And of course all the virtuosic solo work throughout keeps one enthralled, it almost seems that more than half the ballet is 'coda', a wonderful vehicle for the ENB dancers' technical skills.

 

Just to balance this gushing praise a little, I must say that with a more trained eye this time, I spotted a couple of mistakes and hairy moments today and opening night which I won't describe in detail because it would be mean spirited. They were of little importance to me.

 

Full marks in every category ENB for your brilliant Corsaire, and I'm so grateful you come to the 'provinces'. I am quite intent on going to London in January to see Cojocaru in this, who I would have loved to have seen in Liverpool again.

Edited November 21, 2015 by northstar

[Don Q Fan]

Don Q Fan, I will be watching both performances of R&J next week in Manchester on Saturday. As soon as I know the casting, I'll let you know. If you're there it would nice to say hello. LTD

I'm "only" seeing Thursday evening with Alina Cojacaru so if you are there I'll be happy to meet up. R&J is not my favourite ballet I'm afraid but I'm going as it's a rare opportunity to see Alina. I too had hoped she would have been in Corsaire in Liverpool but it was not to be.

Edited November 21, 2015 by Don Q Fan

[Gowiththeflo]

Saw Le Corsaire with dd's dance school on the opening night.-( £9 tickets, second row!!!!!!!) .... We were all blown away by the fabulousness of it! I'm a costume maker, and was almost brought to tears by the breathtaking costumes, let alone the performances. The children were all utterly mesmerised. Mine and Dd's favourites were Lauretta Summerscales (Gulnare) and Cesar Corrales (Ali). ????

[capybara]

On its website, ENB lists 10 Jaw Dropping Moves from Le Corsaire. On the basis of seeing several shows in Liverpool, I offer my own list of excellent reasons to go and see the production in London after Christmas:

 

·         enjoy at least 8 fabulous ballerinas as the two leading girls (Medora and Gulnare)

·         take your pick from a  terrific line-up of Conrads (including 3 new to the role: ENB: company member Isaac Hernandez (wonderful) and two interesting guests (Osiel Gouneo and Brooklyn Mack)

·         discover ‘the other Acosta (Yonah)’ carrying on the family tradition by starring in three leading roles (Conrad, Birbanto and Ali)

·         catch major new star Cesar Corrales also featuring in three leading male roles (Lankendem, Birbanto and Ali - not at the same time although, with him, anything seems possible!). Be ready to see him dancing pretty much everyone else off the stage

·         see this year’s Emerging Dancer (Jinhao Zhang) fully ‘emerged’ and impressive as both Ali and Lankendem

·         listen in to bright, hummable tunes, brilliantly played

·         feast your eyes on the vibrant sets and costumes to help get rid of those January blues

 

If you take from this that I enjoyed Le Corsaire enormously this last week, you’d be spot on   

Edited November 22, 2015 by capybara

[cavycapers]

Oh please let ENB be able to hang on to this lovely young man, Cesar Corrales, where his lovely exuberant dancing and acting can be nurtured, and not let him be poached and swallowed up in another company.

[Bruce Wall]

 

 

Just to balance this gushing praise a little, I must say that with a more trained eye this time, I spotted a couple of mistakes and hairy moments today and opening night which I won't describe in detail because it would be mean spirited. They were of little importance to me.

 

.

 

 

Attended the two ENB performances on Saturday of Corsaire.  I won't go on about how fine I think this production is because I've written copiously about it on this board when it was brand spanking new.  Suffice it to say that it has aged well and - as it appears for the majority of people scribbling hereabouts - I had a GRAND time.  

 

It only broke my heart that it was SO empty - at least in the Empire Theatre's balcony/gallery level.  (I did look down on the stalls - and they did look more full from what I could see - but certainly on Saturday evening there were definite areas of red on view.)  Upstairs for the matinee I'd say it was 40% full while in the evening it was about 35% full.  It beggars my own belief given how stellar I think this production is -  that it shouldn't  be brimming to capacity.  Some people just don't know what they are missing.  This is a production that has something for everyone --- and the ENB Philharmonic - with their wonderfully vibrant sound under the miraculous Gavin Sutherland - is the oh, so very rich icing on this prize winning cake.

 

I was sad to see that Corales did not dance the matinee - as I had travelled in part up to see him ... but still it was a fine outing.  I doubt I would ever tire of seeing this ship sail.  (It looked especially grand framed - as it was from above the proscenium - on view for those in the cheaper seats - by a historic relief of a boat sailing through clouds.  Very apt I thought.

 

I agree about Rojo - SHE ALWAYS DELIVERS - That is a given and is a most generously expert story teller.  I too liked Hernandez - he has a very winning way about his own persona.  That said I wasn't I fear entirely overwhelmed with delight in his regard.  I was concerned about some of his placement - especially when it dealt with positioning in and about the very difficult partnering of the Act II bedroom pas.  That oh, so tricky overhead hold was decidedly insecure at the matinee.  

 

In the evening ... Well, a word in your ear about.Osiel Gouneo.  There was no faltering in this Conrad's partnering - not even a flicker of any hesitation whatsoever - nor was there any crevice of doubt to be found in his rock solid placement, nor in the fact that this young man's final variation was the very personification of perfection and the audience exploded in their communal rapture.  The dazzling point of his feet can pin your heart into your mouth.  He too is a FIND - an exciting one - in and amongst - THIS VERY FINE COMPANY.  I - for just one - would encourage one and all to make their way to see him if you can when they play Corsaire in London.  Something tells me that you won't be disappointed ... NOT AT ALL.    

Edited November 23, 2015 by Bruce Wall

[alison]

Some people just don't know what they are missing.  This is a production that has something for everyone

 

I fear that'll be the case at the Coliseum as well, but I'm still planning on going several times.  Seems to me that a pre-Christmas TV showing of the DVD recording might be no bad thing, so people can see it, but I don't suppose that's on the cards.

[Jan McNulty]

I'm sorry to hear the attendances had tailed off by Saturday; it was certainly busy at the start of the week on Wednesday and Thursday.  The Empire is such a huge barn to fill (2300).  I have said before that I couldn't believe ENB were bringing Corsaire to the Empire and I expected to be having almost a private viewing.  It would be interesting to know if the audience numbers were considered by ENB and/or ATG to be less than targeted/matched or exceeded expectations.

 

I agree it is a treat and I hope it is well attended at the Coli.

[Living the Dream]

I'm "only" seeing Thursday evening with Alina Cojacaru so if you are there I'll be happy to meet up. R&J is not my favourite ballet I'm afraid but I'm going as it's a rare opportunity to see Alina. I too had hoped she would have been in Corsaire in Liverpool but it was not to be.

Oh that's a shame Don Q Fan, I hope to bump into you at another performance. LTD

[northstar]

Thank you for your report Bruce, very interesting to hear from someone else at the Saturday matinee. Glad to hear you enjoyed the performances in Liverpool, despite the late cast change.

 

I too rather cringed at the sparseness of the upper level seating (as I often do at ballet in Manchester and Liverpool), with the sides of the rear circle just about empty. I was also at the opening night (Wed) like Janet and Don Q Fan, and to my memory it was fairly thin then too in the rear circle. But on both opening night and Sat matinee, I thought at least the audience gave a rapturous reaction (particularly on Wed) to the dancers and the orchestra, which of course was fully deserved. As you say Bruce, I'm amazed that with this quality of performance on show, it isn't packed out night after night. But as Alison implies - is it really so different at the Coliseum for the lesser known ballets? I remember going to see ENB's Cinderella (about 1998 I think) in London and sitting with very few others in the balcony.

 

I did notice some of the partnering issues you mentioned, but I was so enthralled with nearly everything I saw that it hardly mattered to me. Also given that it's first week of the tour I expected some wobbles (I remember last year the opening week of ENB's Swan Lake in Manchester and seeing similar little flaws, a month later in Liverpool it seemed more polished and brilliant). Hernandez I would personally look out for in future because I saw a quality of movement there that I thought rather special.

 

I am indeed planning to come to London as you advise (last time I got the urge to do this was to see Klimentova in the Nutcracker before she retired), but with respect to Gouneo (who has been praised by others in this thread), my main aim is to see Cojocaru who I would love to see as Medora.  

[Don Q Fan]

Don't forget there are some good ticket offers on the Ticket Special Offer Thread - some tickets are 50% off 13-20 Jan - but I tried for 20 Jan and the discount didn't work but Alina's performance on 19th did get the discount.  I am keeping everything crossed for an offer for 23rd Jan matinee (Tamara) as there are loads of tickets for the matinee....I may just hedge my bets and buy a train ticket now while it's relatively cheap and if nothing comes up I can still do other things or just pay the full price anyway!  

[capybara]

A terrific opening night at the Coliseum tonight with everyone on sizzling form.

[billboyd]

Absolutely! Superb!  ***** Five stars!

[munchkin16]

Anyone who hasn't got tickets. Get them! It was exciting, beautiful and a stunning performance. Some seriously talented dancers, especially the males and some gourgous dancing from Rojo and Summerscales. Cesar Corrales is absolutely incredible and the corps were beautiful, in sync and just lovely to watch. This is not one you want to miss, truly this company is exciting.

[Coated]

I already have a plethora of tickets, but am seriously considering to book an extra one just to see Corrales' Ali again. Crickey, that boy was good. Great cast all round tonight and a lovely energy on stage. Cheered me right up.

[alison]

Cheered me right up too - until I made the mistake of trying to get home   My train operating company is obviously completely incapable of organising the proverbial celebration in a brewery, because it managed to turn what ought to have been little more than an inconvenience into a major screw-up: what should have been a less-than-20-minute journey turning into 1 hour 35 minutes - I've only just got home.  Consequently, most of the enjoyment I felt at what was supposed to be a belated birthday treat has been totally dissipated by the stress of missing last connections and so on

[Bruce Wall]

I wonder if last night will be remembered as the date when Caesar Corrales was recognised OFFICIALLY as a BALLET STAR. There is NO question but that HE IS .. and deserving - even at 19 - of that ennobled crown. He blazoned as Ali with a dramatic life force that demanded not only respect but fervent dedication thereafter. One should remember that this young Mexican born trained artist was the first Billy Elliott in the BROADWAY production of the musical of that same name. Corrales has lived that tale to its ultimate fulfilment. How lucky we are that the truly extraordinary Ms. Rojo had both the foresight and tenacity to be able to nab him (for now) at ENB. His journey is - without question - a thrilling one.

Edited January 14, 2016 by Bruce Wall

[aileen]

I particularly loved Brooklyn Mack last night. He had enormous charisma and ate up the stage with his big acting and dancing - and I think that I spied the first Lankedam in the theatre last night.

Edited January 14, 2016 by aileen

[alison]

One should remember that this young Mexican born trained artist was the first Billy Elliott in the BROADWAY production of the musical of that same name.

 

I hope everyone will forgive me if I totally digress from the subject for a minute, but Bruce: it's just occurred to me to wonder, is the Broadway production just a duplicate of the UK one, Thatcher, miners' strike and all, or has it been "localised" to the USA as the Full Monty musical was?   

[Bruce Wall]

I hope everyone will forgive me if I totally digress from the subject for a minute, but Bruce: it's just occurred to me to wonder, is the Broadway production just a duplicate of the UK one, Thatcher, miners' strike and all, or has it been "localised" to the USA as the Full Monty musical was?   

 

It was a replication of the original work as originated in the UK.  

[GTL]

I particularly loved Brooklyn Mack last night. He had enormous charisma and ate up the stage with his big acting and dancing....

Yes,and in an unsympathetic rôle too. And what wonderfully soft landings! The heaviness of Cesar Corrales's were the one jarring note in his amazing performance - but at his age he needs to have something to work on. I felt that Tamara Rojo, great as she was to substitute for Alina C, was slightly too tall for Osiel Gouneo: in the circumstances they can't have had much practice time together and I feared for them in that shoulder-stand type lift at the and of their big Act 2 pas-de-deux. However, these are minor quibbles, what an exhilerating evening, a terrific show from everyone.

[Bruce Wall]

Yes,and in an unsympathetic rôle too. And what wonderfully soft landings! The heaviness of Cesar Corrales's were the one jarring note in his amazing performance - but at his age he needs to have something to work on. I felt that Tamara Rojo, great as she was to substitute for Alina C, was slightly too tall for Osiel Gouneo: in the circumstances they can't have had much practice time together and I feared for them in that shoulder-stand type lift at the and of their big Act 2 pas-de-deux. However, these are minor quibbles, what an exhilerating evening, a terrific show from everyone.

 

I applaud everything thing you say, Grand Tier Left.  I had only seen Brooklyn Mack once before - and that was with Washington Ballet where he is resident - and the precision of his focus has clearly sharpened since that time.  (He was always VERY strong - There was no question of that - and a clear crowd pleaser.)  Last night you could certainly see why he was awarded that gold medal at Varna.  I was, too, delighted by the characterful dramatic performances by ALL principals and the very fine key soloists last night, including young Acosta.  Each added mighty flesh to what might have - in other hands - been far less colourful bones.  Vis a vis Gouneo and Rojo ... You may be right.  I had the privilege of seeing him dance Conrad opposite Shiori Kase's Medora in Liverpool and there had been nary a blip at that time.  All sailed through with impressive grace at the Empire   whereas I thought - at least in the one other performance I was lucky enough to see last year of ENB's Corsaire up in the 'Northern Powerhouse' that Hernandez too struggled with Rojo at that specific juncture.  (Indeed, some of his other partnering at that time seemed also more uncertain).  Perhaps these occasions are just down to a particular mesh of moments that we often casually think of as history  and surely that can but make the adventure surrounding such all that more enticing and clearly humane.  I agree, last night demonstrated a fine effort by ALL concerned 

Edited January 14, 2016 by Bruce Wall

[capybara]

There is (understandably) a lot of emphasis on the men in the posts above but let's hear it also for the long-time 'home team' of leading ballerinas who were also stunning last night:

 

Laurretta Summerscales as Gulnare (joined ENB in 2009 from the ENB School)

Ksenia Ovsyanick as an Odalisque and a Rose (joined ENB in 2008 from the ENB School)

Alison McWhinney as an Odalisque and a Rose (joined ENB in 2005 from the ENB School)

Shiori Kase as an Odalisque (joined ENB in 2009 from the RB School)

 

This 'Soloist' line up is surely as strong as that in any ballet company and a joy to behold.

 

[incidentally:

• Gouneo danced with Takahashi in Liverpool (Rojo with Hernandez);
• Kase danced with Acosta there; and
• Corrales (while born in Mexico) is considered Cuban/Canadian.]

Edited January 14, 2016 by capybara

[munchkin16]

I agree they gave absolutely beautiful performances too. I think perhaps for me, the reason the men stood out so strongly was because of two things. Firstly I haven't seen a ballet with such strong leading male characters in. Secondly because I haven't seen such a group of talented male dancers all together in one place. Even the men in the corps looked very strong but so together at the same time. They were all incredible and stood out to me for different reasons but I am so glad I got to see it.

[Jan McNulty]

A review from Mark Ronan:

 

http://www.markronan.com/2016/01/le-corsaire-english-national-ballet-enb-london-coliseum-january-2016/

[Bruce Wall]

 

 

 

 

• Gouneo danced with Takahashi in Liverpool (Rojo with Hernandez);
•  

 

Thanks so, Capybara.  You are indeed right.  It was Takahashi - and lovely she was too - as I wrote in my review here at the time.  Sorry for this error.  The rest above can stand. 

[Jan McNulty]

ENB has posted audience reactions on social media:

 

https://storify.com/ENBallet/le-corsaire-audience-reaction

 

I can't make any of the London performances.  I'm so glad I saw it in Liverpool.  Everybody should beg, steal or borrow a ticket to go!