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The Royal Ballet: Giselle, Feb-April 2016


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Went to see it again here in Plymouth. Once the talkers had settled down (after a glare from me - honestly, chatting away through the introductory video!), you could hear a pin drop in Act 2. Audible gasps, though, when Vadim did those amazing entrechats! Hugely appreciative comments heard afterwards. Wonderful to see it again, but that was truly a performance I could watch over and over (and I guess we're back to lack of a DVD.....).

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Oh and another thing that really struck me was Muntagirov right at the end - his expression of exultation, relief, love, joy. Not grief or shame, now; he is experiencing the joy of redemption AFTER the guilt and agony. Which was so beautiful. If Albrecht is still only grief-stricken at the end, it doesn't convey the whole point of the ballet.

Yes! He has such an expressive face which seems to find the right expression for all circumstances. One of the reasons I find him so incredibly moving to watch - and he and Nunez together were just unbearably so.

Edited by Balletfanp
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I went to see Giselle encore at the cinema this afternoon and having seen all Nunez and muntagirov's shows at the ROH it was good to relive the experience through the screening. I liked seeing more detail but as others have said the constant switching of angle was a little distracting. However this was a mild irritant. These performances have been the highlight of my ballet viewing this year. I love this production and it's my favourite ballet. In fact it's this production got me into watching ballet regularly.

 

After reading some views about mendizabel on screen I was interested to see for myself. The wardrobe malfunction was unfortunate and there was a little wobble but apart from that I liked her Myrtha. I also thought the make up, although heavy, was fine. I really hope the Royal Opera House release this in some format. I'm really glad they are thinking about online/on-demand options. They must have so much content and it's hopefully a way to get more people interested in ballet.

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Wonderful to see the Nunez/Muntagirov Giselle again today.

 

I was relieved that Bussell wasn't on duty but concur with the comments above about the presenter coming across as slightly patronising with too much of the "you guys" approach. Also, I wanted to stay with Sir Peter and the two leads in the rehearsal studio not cut to him emoting every so often. Fancy suggesting that we should go and watch the dancers in the studio - chance would be a fine thing! And we even missed Vadim's solo curtain call because we were prematurely  forced back to the host saying goodbye.

 

The positives were many, of course. Being at the cinema is a different experience - emotionally as well as environmentally - to watching the same show on stage. But the big screen accentuates nuances in the acting which one sometimes misses 'in the flesh'. I agree about Vadim's expressive face. I felt that he looked quite different in Act 2 with his anguish and remorse giving his face a real beauty (if one can say that about a man!). The final walk forward was, indeed, perfectly judged.

 

It being Giselle, the shots lingered longer and more frequently on Marianela and she too came across so believably - her normally alive face so solemn and still in Act 2, yet pleading and loving at the same time.

 

I have just realised that I have focused on the characterisation rather than the virtuoso dancing (ooh those entrechats) - and that is interesting given Sir Peter's coaching to the effect that that is what matters. We, and RB, are so fortunate to have artistes whose technique is so secure that their interpretations can help us live their stories with them.

 

Although I had seen most of the 'extras' via the ROH website, I felt that the clips really gave us an insight into the minds and nature of the dancers - not only Marianela and Vadim but also Annette and Nathalie (who is now Assistant ballet Mistress I see).

 

So, all in all, a great finale to an amazing run of Giselles and the fact that Kevin O'Hare 'talked up' the Nunez/Muntagirov partnership bodes well for the future  :)

 

Fingers crossed now that we shall get that DVD.

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I also went to the Giselle 'Encore' cinema broadcast today with Nunez (Giselle) Mutagirov (Albrecht) Mendizabel (Myrtha). Wonderful as always to read everyone elses' views, here are mine:

 

At the risk of being complimentary to a banal level, I thought it was marvellous. Full justice done to this masterpiece of the ballet canon and the genius of Sir Peter Wright's production. I want to separate my reaction to the ballet from my reaction to the cinema experience (difficult). Technically excellent standard throughout (expected of course!). Some rather brilliant moments like Nunez's en-pointe balance and Muntagirov's entrechats, and I thought these skills were dramatically effective rather than pointlessly ostentatious  - Nunez's ethereal qualities as a Willi was made more convincing by holding a graceful other-worldly balance en-pointe.

 

Although I've admired Nunez for a long time (although never seen her live), I wasn't sure she would suit Giselle. Her appeal to me is her regal presence - I think she's much more naturally a Gamzatti than a Giselle. But I have to say that to my eyes she made a convincing, top-rate performance dramatically and technically, even if other ballerinas may be more naturally suited to the character. I wasn't totally sure of some of the things she did with the Act I solo, the variations she made to the hopping on pointe and grand manege, but I have complete sympathy for the interpretive efforts, it must be such a challenge trying to bring freshness to a character and solo that has been seen thousands of times before. I would echo the same level of praise for Muntagirov's technical/dramatic performance. I'm not a great judge of chemistry but I certainly did not notice anything amiss technically in the lifts etc, and the acting of the relationship actually moved me (rare!). Mendizabel was I thought a brilliant Myrtha and I can still see her thrilling grand jetes - flying onto and across the stage at one of her entrances; I think a 'wobble' has been noted here and elsewhere but I just wonder how obvious it was to non-cinema viewers? It could hardly be considered a significant problem in my eyes.

 

I must say the ballet was quite an emotional experience for me which is rare. I think the cinema close-ups no doubt enhanced this effect, as they clearly showed the extremely fine acting abilities of Nunez/Muntagirov. The combination of this with the music became quite overwhelming to me and I must admit I found myself close to tears more than once. It's been so long since I've sat down and heard the score properly, and the rising, swelling drama and tragedy of certain moments is powerful stuff indeed.

 

I could waffle on for a lot longer on the cinema issues, but I think I've probably written too much already!  I have only seen one cinema broadcast of ballet before (RB Nutcracker last Christmas), which I found frustrating and said so on this forum. I really don't like the switching shots, angles, closeups - I'd prefer if they just kept it on a single shot representing someone's view from the circle, for the whole performance! Of course, the emotional aspects of the acting were much greater I felt because of these close-ups, but in a way I would have preferred the emotional effect to be a little less ! My personal interest and thrill in ballet is aesthetic and dramatic rather than emotional. It's hard to describe but I do like a certain level of detachment/disbelief. This detachment was rather shattered by the brilliant acting of the dancers which I saw in perfect detail because of the closeups ! 

 

Lastly I just want to say thank you to alison who told me about this possibility to see RB Giselle at the cinema on the recent 'Favourite Ballerinas' thread when I posted my admiration of Nunez. Last time I saw Giselle live was about 10 years ago (Birm Royal Ballet at Lowry Salford), and it was fantastic to see such a brilliant performance of this great masterpiece again - hope it's not another 10 years before I see another one.

Edited by northstar
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Earlier in her career I was really taken with Ms Takada, but then for some reason, she seemed to lose a lot of spark (an injury perhaps, or slow recovery from one?). Anyway, that seems to have passed now and her performances this run have been breathtakingly great.

 

Me too, so I hope you're right and that whatever it was has passed.

 

And I too thought it was extremely discourteous to the dancers at the cinema relay to cut away from their curtain calls.  (Oh, and bridiem, the cinema was virtually full for the live relay - I'd guess that the unusual repeat pattern may have confused some people).

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Poor Mendizabal and her wobble! Apart from Northstar, hardly anyone has mentioned anything else. Tierney Heap also had a pronounced wobble in the opening performance but that seems to have been glossed over by praise for the rest of her interpretation. I agree with you, Northstar, I think that, wobble apart (and, yes, it was visible in the theatre), Mendizabal made an extremely effective Myrthe.

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I thought Mendizabal was very good as a stage presence, and I would not criticise a dancer for a slight wobble, if that was the only mistake they made. And a wardrobe malfunction is a minor issue, unless a dancer loses a shoe, or her top, or something like that, and has to leave the stage to rectify the situation.

 

However, I think I said I found some of her jumps a bit leaden, with some very noisy landings. It might, of course have been the camera angle.

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"Wardrobe malfunction" indeed!!!!!! Why can't we call a spade a spade? Itziar Mendizabel's dress caught over one her wings and remained thus to the end of that one scene when it could be untangled off stage. 

 

If that creates a problem as far as a DVD is concerned, the footage from the earlier filming could surely be used in its place.

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What is wrong with using the words "wardrobe malfunction" when talking in general terms about costume mishaps? I have seen several over the years, and it has never bothered me as a member of the audience.

 

The dancers must be used to these sorts of things happening in live performances, I would have thought.

 

Edited to add that the costume hooking onto the wings barely registered with me at the time. And it was not something that would have an impact on her performance, would it? Or perhaps it would, I don't know, never having had to dance in such an outfit!

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What is wrong with using the words "wardrobe malfunction" when talking in general terms about costume mishaps? I have seen several over the years, and it has never bothered me as a member of the audience.

 

I thought I remembered where this term originated, so I checked with Wikipedia and I was right...

 

The term is credited as having been coined by singers Justin Timberlake and Janet Jackson, on February 1, 2004, to explain the Super Bowl XXXVIII halftime show controversy; the controversy is in reference to Jackson's right breast having been bared.[8] Timberlake apologized for the incident, stating he was "sorry that anyone was offended by the wardrobe malfunction during the halftime performance of the Super Bowl...."[9] The term wardrobe malfunction appeared in numerous stories in major US consumer and business publications, newspapers, and major TV and radio broadcasts.[10] Journalist Eric Alterman described the incident as "the most famous 'wardrobe malfunction' since Lady Godiva."[11]

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"Wardrobe malfunction" indeed!!!!!! Why can't we call a spade a spade? Itziar Mendizabel's dress caught over one her wings and remained thus to the end of that one scene when it could be untangled off stage. 

 

If that creates a problem as far as a DVD is concerned, the footage from the earlier filming could surely be used in its place.

 

Was that all - I thought I'd missed something (as per Ruth's explanantion of 'wardrobe malfunction' above)

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I believe the same "wardrobe malfunction" happened to Nunez when she was cast as Myrthe, or at least that's what I've been reliably informed of by my grand dd!

It's not uncommon for Myrthe's (and possible others'?) skirt to get caught up on the wings, any more than it is in La Sylphide. It usually unhooks itself again relatively quickly as the dancing continues, only this time it was of rather longer duration and did cause more bunching than normal. That's live performance for you. Just as Watson/Galeazzi managed to knock over a chair towards the end of the last act of Mayerling on the DVD. The way some people reacted to that, you'd think they were deducting marks for technical merit or something as a result :)

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I recall Darcey Bussell commenting in a documentary that it was a good idea to keep on good terms with your fellow dancers, just in case there was a mishap and your costume got caught up or stuck to the scenery. At least your colleagues would assist you if they were able to. Or you hoped they would!

I also recall my first trip to see the RB years ago, a swan's pointe shoe ribbon started to come undone. She could do nothing about it and I was fascinated by the deftness with which she slipped the shoe off and carried on dancing. Another swan equally deftly picked up the shoe, held it aloft for a second as all arms were up. Then as all arms came down, the shoe was launched across the floor where it slid offstage and out of sight. I was about 8 years old and the finer details of the story largely passed me by, but I remember being impressed by their efficiency in removing the obstacle. I mentioned it to my mother and she hadn't even noticed.

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This entry is unduly late for reasons explained on another thread.

 

Well, on 29th March, Natalia Osipova was as interesting as she always is with her own, inimitable way of dancing and expression. In Act 2, I marvelled at her light, airy quality which truly made Giselle feel like a floating spirit. However here, as in Act 1, there were times when I felt she was taking up poses rather than sustaining a consistent characterisation: there was, somehow, a disconnection between her face and her soul. While much of her dancing was beautifully phrased, she played with the tempi a very great deal. Overall, she did not come across to me as true as I need my Giselle to be if I am to really care about her fate, feel her giving love and experience her forgiveness.

 

I thought her Albrecht (Matthew Golding) made a good start with his reading of a pretty insincere man out for a good time. He also partnered well and finished strongly in near death. In between, I didn’t receive much from his characterisation because his facial expression seemed to change little. I hope that he can be encouraged to work on that since, at the moment, he is giving insufficient to his partner (or his audience) by way of feelings.

 

Marianela Nunez was excellent as Myrthe in every respect and seemed to interact more with Giselle than others have done in this role this run. I felt privileged to have caught her one performance. She deservedly brought the house down both after her opening solo in Act 2 and at curtain call.

 

Osipova’s fans appeared to be out in force and cheered with delight at her solos. It was good that they were so happy after the earlier disappointments of her being unable to dance.

 

I am very glad that I went but I did not come home floating on a cloud of joy.

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I didn't see Osipova this time round because of her injury; and of course no two performances are the same anyway. But I think I understand what you mean, capybara. I think that Osipova is like an old (not literally!) Hollywood star - whatever character she's portraying, she's always ultimately herself. A bit like Nureyev, who was always Nureyev. But I find her so fascinating and her dancing so blazingly intense, individual and impressive that I don't mind that. She (like Nureyev) sweeps all away in front of her. But there's also a slight sense of fragility, or even sometimes inconsistency, that for me just adds to the drama. I understand why it might have a different effect on others, though.

 

I agree about Matthew Golding, but wasn't fortunate enough to see Nunez as Myrthe.

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I watched the Cojocaru/Kobborg DVD last night, how I miss them, and Marianela Nunez' dress gets hooked up at the back whilst she is dancing but it rights itself, I thought I had seen it happen before. There's no doubt though that she was extra brilliant on the 29th March!

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I didn't see Osipova this time round because of her injury; and of course no two performances are the same anyway. But I think I understand what you mean, capybara. I think that Osipova is like an old (not literally!) Hollywood star - whatever character she's portraying, she's always ultimately herself. A bit like Nureyev, who was always Nureyev. But I find her so fascinating and her dancing so blazingly intense, individual and impressive that I don't mind that. She (like Nureyev) sweeps all away in front of her. But there's also a slight sense of fragility, or even sometimes inconsistency, that for me just adds to the drama. I understand why it might have a different effect on others, though.

 

I agree about Matthew Golding, but wasn't fortunate enough to see Nunez as Myrthe.

A

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There may be two DVDs already, but this is the one that people are asking for - in large numbers. And I see no reason in that case not to push for one at least - don't ask, don't get, and it won't hurt to try.

 

I for one have followed your example, Capybara, and penned a letter. It may get filed in the bin, but at least it will be seen.

 

Oh, and ToThePointe - lovely review! You encapsulated all that I wanted to express but wasn't eloquent enough.

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