Bolshoi Ballet: Swan Lake, Royal Opera House, 2016

[godots_arrived]

Despite my (severe) reservations about the production as a whole, Smirnova's Odette/Odile has been a highlight of the run for me. Those going tonight (Tuesday) are in for a treat in my view. TBH I am almost tempted to go down to London and linger around the box office in the vague hope that someone shows up with a spare ticket such is my wish to see her again.

[cavycapers]

Unnecessarily unpleasant young women on the stage door last night as we were waiting for Svetlana to come out. Give someone a little bit of power.... she kept coming out and trying to move us around, and counting us, etc, then after an hour and a quarter, she told us all to go home as Svetlana had gone and there was no one in the building. So most of us did, then Svetlana apparently came out at quarter to twelve and signed, smiled and chatted to those that had stayed. Badly done ROH, I don't care, I'm grown up, but there were many youngsters there clutching their pointe shoes who stood for over an hour to be sent home and then to find she was still there...

[VickyPage]

Unnecessarily unpleasant young women on the stage door last night as we were waiting for Svetlana to come out. Give someone a little bit of power.... she kept coming out and trying to move us around, and counting us, etc, then after an hour and a quarter, she told us all to go home as Svetlana had gone and there was no one in the building. So most of us did, then Svetlana apparently came out at quarter to twelve and signed, smiled and chatted to those that had stayed. Badly done ROH, I don't care, I'm grown up, but there were many youngsters there clutching their pointe shoes who stood for over an hour to be sent home and then to find she was still there...

 

Doubly angry now that I learn she did come out (I left when we were told Svetlana was gone). I feel awful for all those sweet girls, many of whom had flown from America and Australia to see her, and then some of whom went home disappointed, just because an officious ROH woman lied to them.

[capybara]

I think that there needs to be a complaint about this. There is no way that Svetlana would have left by a secret door.

 

Is there anyone on here who was present last night who feels able to write in?

[alison]

I suppose it's possible that the woman in question had actually been told that Zakharova had left ... although presumably with the "Open Up" work the alternative stage door exit isn't available?

[cavycapers]

No, she said she had looked in the dressing rooms etc and no one there. If it had been at Svetlana's request, she wouldn't have been so gracious when she came out. My young friend who didn't give up, said she was lovely and happy for photos and chat and signings when she did emerge.

[swanprincess]

It did occur to me that Svetlana might have requested for the woman to say that she'd gone, so as to not be mobbed by fans- just after you'd left, Cavycapers, myself and a young man ventured inside the stage door; there was a man sitting the other side of the glass who also politely but firmly assured us that Svetlana had gone and there was absolutely no dancers left in the building!

 

 

But if no dancers were left in the building, why were the lights still on, door open & security man sitting in his booth?!

Persistence is key, I got some lovely photos with Svetlana and a very precious pair of signed pointe shoes!!!!

[cavycapers]

Nooo, sick as a parrot. I had booked a hotel instead of getting last coach home just so I could see her!

. Glad you got to see her though!

[cavycapers]

Vicky page, were you the lady in the red gilet, that I spoke to on the tube! Hello if you were!

 

I think I would just have liked the truth, if the woman in red had come out and said Svetlana is very tired and doesn't really want to see people, we would have respected that a lot more.

[VickyPage]

Is there anyone on here who was present last night who feels able to write in?

 

I know a very angry mother who is going to complain about the experience. There were a lot of young girls there, although judging by how things looked when I left (I am pretty angry, but after Flames on Friday, I was pretty tired, so not too sorry about leaving, since I had to get back to Oxford that night) most of them doggedly stayed and got the pay off.

 

I don't think that Svetlana could have been the one to ask them, since it sounds like she was so lovely and sweet once she actually emerged. I suspect it's a policy (not necessarily an official one) to tell large crowds that the person they're waiting for has gone home in order to thin the group somewhat. 

[VickyPage]

Vicky page, were you the lady in the red gilet, that I spoke to on the tube! Hello if you were!

 

I think I would just have liked the truth, if the woman in red had come out and said Svetlana is very tired and doesn't really want to see people, we would have respected that a lot more.

 

Nope, sorry. I wore black, and am probably a lot younger than you imagine! I agree though; I think lying to us was just really disrespectful. 

[Don Q Fan]

Oh nooo I am so sad for those that missed SZ especially the youngsters. I wasn't there but last time they came I did wait for SZ and she only came out after they called that the House was closing in 10 minutes so 11.50pm, which seems about the same time here. I think she likes to avoid too many fans and does give fans the slip...happened at The Coli after a Russian Icons Gala she left by another door. I've seen her both impatient with fans and nice with them.

[swanprincess]

She was very sweet although did seem in a rush to get away (understandable I suppose!!)

By the time she came out, there was just me & my mum, a Chinese gentleman, and a small group of women who seemed to speak fluent Russian- and didn't seem fazed when we were told that Svetlana had left, leading me to think that they were perhaps friends of hers who had been forewarned!!!

I managed to get a cast sheet signed for the three lovely young girls who go to the same school and will post it to them; I felt so sorry for everyone who left just moments before Svetlana came out!!

[swanprincess]

I agree that the woman in red was very rude though and do feel compelled to complain- had we left when she told us to, I was going to write on here to say that it was rude of Svetlana to leave without even greeting her fans, so I'm very glad that I know that the woman in red lied!!

(In fairness to the woman, she could've just been doing what she was told to, although the way she she spoke to everyone- and counted us (!!!) seemed particularly irreverent.)

[cavycapers]

I agree SP, it was a fabulous evening, but this left a bad taste in the mouth. She talked to us as if we were stupid. If that was the first ballet experience for those young girls and boys, it was an unpleasant ending. You don't talk to children like that. And those people who were such an irritant to her at the stage door are the same ones who come (or will be coming when older) time and time again. I've no objection to being told that a dancer just wants to go home, but not like that.

 

I too am glad that I don't have to think badly of SZ now!

 

To be honest, even if it was all directed by SV, it was the way it was done with such relish that was poor.

Edited August 9, 2016 by cavycapers

[godots_arrived]

 I bet the customers in the 150 quid seats who aren't the ones at the stage door at 11pm aren't treated like that.

[Balletomanewithoutacause]

Here's an instagram photo of Zakarhova signing autographs after Swan Lake last evening.  To me she looks utterly exhausted.  I may be in a minority here, but really, after having given so much in her performance, must she then give more just because people want things from her?  Can't we just let her go home when she's tired, and explain to the kids why this is the right thing to do?n 

 

https://www.instagram.com/p/BI5AhOZglcU/?tagged=swanlake

[cavycapers]

I agree, what bothers me is that if we had been told that she was exhausted and wanted to be left alone, i dont think there was a single person who wouldnt have left. What I hated was the delight with which the woman in red informed us, children inclded, that she had gone home.

[swanprincess]

Amen to that, Cavycapers!

 

Godots_arrived I don't fully understand your point; do you mean that the patrons who paid for top price seats should've been treated better at the stage door? I agree!!

[cavycapers]

Hi Vicky Page (cool name by the way!) you were the young lady with the family going back to Oxford, weren't you? I was the lady who told you about Alina coming out once to sign autographs still dressed as a swan! Nice to meet you, young lady. If nothing else, I got to finally meet some balletco members last night, so something good came of it

[godots_arrived]

Amen to that, Cavycapers!

 

Godots_arrived I don't fully understand your point; do you mean that the patrons who paid for top price seats should've been treated better at the stage door? I agree!!

 

No. I meant that if the stage door was regularly frequented by expensive seat-holders (half of whom are interested in the social occasion rather than the dance) then I suspect the stage door staff would soon improve their social skills. Or be told to.

[godots_arrived]

Here's an instagram photo of Zakarhova signing autographs after Swan Lake last evening.  To me she looks utterly exhausted.  I may be in a minority here, but really, after having given so much in her performance, must she then give more just because people want things from her?  Can't we just let her go home when she's tired, and explain to the kids why this is the right thing to do?n 

 

https://www.instagram.com/p/BI5AhOZglcU/?tagged=swanlake

 

Good God, looking at that photo I'm so glad I wasn't there. I'd still be in recovery now if I had been. 

[Balletomanewithoutacause]

No. I meant that if the stage door was regularly frequented by expensive seat-holders (half of whom are interested in the social occasion rather than the dance) then I suspect the stage door staff would soon improve their social skills. Or be told to.

 

 

Good God, looking at that photo I'm so glad I wasn't there. I'd still be in recovery now if I had been. 

 

Moderators: First comment implies that ballerinas would be more willing to accommodate wealthy sugar daddies than young girls clutching pointe shoes, and that ROH staff would go along with this. The second comment implies that the photo of an exhausted Zakarhova might drive one to drink if witnessed in person.  Isn't this enough to ban him/her?

 

And no, I am not going to argue with you, godots-arrived.  You don't deserve any further attention.

[swanprincess]

Whilst certainly not wishing to provoke an argument, Godots_arrived, I do disagree with your point about expensive seat holders. On this occasion I was very lucky to recieve Orchestra Stalls tickets as a birthday gift, however frequently watch ballets from stalls circle standing or balcony standing- my point is that regardless of how much money I pay for my ticket, I still support the ROH and deserve to be treated with respect by its staff. And whilst I can appreciate that some people may go to the ballet for the social aspect, I- and no doubt many others- go to broaden our horizons in the ballet world and appreciate the art form, which is primarily the purpose of going to a ballet.

 

Yes, Zakharova was understandably exhausted, and spent no more than two or three minutes with me- but they were very precious moments that I will cherish for a lifetime.

 

Lexy I do find your point about people 'wanting more from her' very thought-provoking, I most certainly wouldn't want any dancer to feel that I was wanting more from them by waiting at the stage door; I waited for almost 2 hours as a means of expressing my respect to Zakharova; had she not wanted a photograph with me then I would've totally respected her decision! I only wish I could've had time to buy a bouquet of flowers to give to her, so that she didn't feel that I was selfishly asking for an autograph without acknowledging that she had already given everything she had in the performance!

(Just to clarify, Lexy, I am agreeing with your point, albeit in a slightly ashamed manner as I had naively assumed that dancers would always be keen to greet fans, so it hadn't really occurred to me that the dancer might perceive it as us at the stage door wanting more from her, I am grateful that you gave me that insight )

Edited August 9, 2016 by swanprincess

[Sim]

I think it's a lovely photo of Zakharova. She looks like a serene, natural woman.

[bangorballetboy]

Moderators: First comment implies that ballerinas would be more willing to accommodate wealthy sugar daddies than young girls clutching pointe shoes, and that ROH staff would go along with this. The second comment implies that the photo of an exhausted Zakarhova might drive one to drink if witnessed in person. Isn't this enough to ban him/her?

 

And no, I am not going to argue with you, godots-arrived. You don't deserve any further attention.

If you believe a post breaches the AUP please report it using the "report" link.

[Jan McNulty]

No. I meant that if the stage door was regularly frequented by expensive seat-holders (half of whom are interested in the social occasion rather than the dance) then I suspect the stage door staff would soon improve their social skills. Or be told to.

 

 

Travelling from afar as I do, I am an occasional visitor to ROH and an even less frequent visitor to the Stage Door.  How would anyone know where I sit?

[annamk]

At last, yesterday evening some life was breathed into this strange Swan Lake production and I felt emotionally engaged by what was happening on stage, as opposed to merely a chilly admiration for the quality of the dancing.

 

Semyon Chudin, through many, many tiny gestures, spoke volumes and fleshed out a three dimensional character for Siegfried. He has a fine princely line and his refined, unshowy dancing was of the highest quality: elegant in elevation, neat and precise footwork, only a single messy landing. It was clear that this couple not only compliment each other perfectly physically but have a special chemistry on stage together. Smirnova responded to Chudin's Siegfried with a more emotional rendition than I saw in her two previous performances. And no wonder, since Chudin's partnering was generous and faultless - none of the messy supported turns I saw in some of the earlier performances. 

 

What a wonderful performance for them to finish their London season with - and one for the audience to treasure. 

Edited August 10, 2016 by annamk

[godots_arrived]

Whilst certainly not wishing to provoke an argument, Godots_arrived, I do disagree with your point about expensive seat holders. On this occasion I was very lucky to recieve Orchestra Stalls tickets as a birthday gift, however frequently watch ballets from stalls circle standing or balcony standing- my point is that regardless of how much money I pay for my ticket, I still support the ROH and deserve to be treated with respect by its staff. And whilst I can appreciate that some people may go to the ballet for the social aspect, I- and no doubt many others- go to broaden our horizons in the ballet world and appreciate the art form, which is primarily the purpose of going to a ballet.

 

I don't think there's any argument at all that we should be treated equally regardless of what we pay. That was exactly my underlying point too. But that rarely happens. The point I was making is that in any entertainment (and for whatever reasons), the really devoted fans tend to be in the cheap seats. Not always, but as a rule. Whether it's the terraces at football or the amphitheater in the ROH, that's where you find the noise in the former and the impoverished ballet students desperate to see the performance in the latter. And by and large, in either instance, those you find at the stage door waiting to greet the performers an hour after the show/game tend to be drawn from that core of devotees. The wealthier patrons tend to be long gone by midnight.

 

What I would contend is that if there was suddenly some sort of recognizable upsurge in expensive seat holders seeking autographs, that the ROH would suddenly become more accommodating in the management of the stage door. If your 150 pound seat holders want something, in my view they're more likely to get it than those of us who stand or sit in the slips. I may be wrong, but that is/was my contention.

 

How anyone can read "sugar daddies" (I know it wasn't you) into my assertion frankly says more about the way their minds work than anything written in my thread. That was a truly pathetic and offensive response.

[ElenaF]

To add my impressions, took me a while to regain my senses to write something hopefully moderately coherent. For me Olga Smirnova's Swan Lake was the true revelation of the season. There have been many fine ballerinas sparkling in this role, but no one with her ability to reach down to the deepest levels of my soul to stir up lasting emotions. 

 

At her Swan Lake, as the white act was beginning there was a palpable sensation that the very air in the theater thickened. What an astonishing artistic performance it was! Her white swan was of the vulnerable, quivering kind, a precious fragile bird desperate to free herself from the trap into which cruel fate captured her. I almost wanted to scream out in anguish: "Is there no one here that would protect this dear little creature, protect her from all the evil that is threatening her, give her some comfort, give some hope for calm and deliverance???!!!! How could there be such cruelty in the world, is there really no hope?" And right at that very moment, Odette looked at the Prince, and a glimmer of hope passed across her face. It was faint, unsure hope, but one that she felt to hold so dear, as she felt there would be nothing else ever to save her from her doom.

 

The white adagio to me was one of the most incredible things I have ever seen, a true masterpiece that completely absorbed and enveloped all of me. It was strange: sometimes it felt like an out of body experience, sometimes it felt like I became the Prince standing in front of Odette, infatuated by her image and her story, at other times I felt like my self melted away in this ocean of music and beauty. I forgot that I was in a theater, I forgot that I was in a ballet performance, to me it was no longer dancing, but a beautiful wistful symphony, a sorrowful poem, a tale of unhappy destiny of heart break and sadness. It was as if I was hearing verses accompanying Tchaikovsky's yearning score. At that moment the white swan on stage became a living image of a human soul - incorporeal, yet still so real in its feeling, its longing, its pain. To me it was not a performance, it was an experience that reached out to the deepest layers of my soul as if someone gripped me by my very heart.

 

Her Odile was a sparkling jewel at a high society party, beautiful for the sight to behold, a gorgeous and seductive statuette, full of deception and vice inside. Invoked thoughts of Tolstoy's Helene Kuragina, wonder whether she actually served as the inspiration for the Odile character. Incredible how an artist can create two such different roles within the same performance, separated by a mere 30 minutes!

 

Unlike some other viewers or critics, I thought the finale was powerful and moving, at least the way it was done by the performers that night, as heart wrenching as it was, especially when the Evil Genius brutally murders Odette by snapping her back, it was as if my heart snapped along with it. And as the final applause was raging all around me, I could barely move or breath, overwhelmed by tears and grief, awestruck with the emotional intensity of that performance.

[Bruce Wall]

Am I out of order in hoping this thread simply sticks with comments specifically dealing with the Bolshoi's production of Swan Lake much like the wonderful commentary immediately above.  

 

I saw the last two performances of the Bolshoi's SL and was going to submit my own commentary here but I now sincerely feel discouraged in doing so -  much as Coated was in delivering his notations on FofP - having seen a twist in the latter part of yet another thread away from the balletic endeavour at hand.  

Edited August 10, 2016 by Bruce Wall

[Anna C]

Am I out of order in hoping this thread simply sticks with comments specifically dealing with the Bolshoi's production of Swan Lake much like the wonderful comment immediately above.  

 

I saw the last two performances of SL and was going to submit a commentary here - indeed very much wanted to - (as I had previous performances) but I now feel to some extent discouraged in doing so much as Coated was in delivering his notations on FofP.  

 

Perhaps this is just a positive suggestion I have received suggesting it is time to start a blog to record one's thoughts on a ballet and simply sharing them here if/when it has been shown to be appropriate.

 

No, you are not out of order. Can everyone try to stick to the topic, please.

[Jan McNulty]

I don't think there's any argument at all that we should be treated equally regardless of what we pay. That was exactly my underlying point too. But that rarely happens. The point I was making is that in any entertainment (and for whatever reasons), the really devoted fans tend to be in the cheap seats. Not always, but as a rule. Whether it's the terraces at football or the amphitheater in the ROH, that's where you find the noise in the former and the impoverished ballet students desperate to see the performance in the latter. And by and large, in either instance, those you find at the stage door waiting to greet the performers an hour after the show/game tend to be drawn from that core of devotees. The wealthier patrons tend to be long gone by midnight.

 

What I would contend is that if there was suddenly some sort of recognizable upsurge in expensive seat holders seeking autographs, that the ROH would suddenly become more accommodating in the management of the stage door. If your 150 pound seat holders want something, in my view they're more likely to get it than those of us who stand or sit in the slips. I may be wrong, but that is/was my contention.

 

How anyone can read "sugar daddies" (I know it wasn't you) into my assertion frankly says more about the way their minds work than anything written in my thread. That was a truly pathetic and offensive response.

 

 

When I have been to the Stage Door (visiting from my front row of the orchestra stalls seat) I have met other people who sit in the stalls and other people who sit in all parts of the auditorium (not that I ask them where they have been sitting but sometimes we recognise or know each other).  Not all of us are autograph hunters - on my occasional visits I have gone to congratulate a favourite dancer.  (The only autograph I have ever received was from Irek Mukhamedov at the SD of the Palace Theatre in Manchester and that was by accident.)  I have never seen the ROH personnel treat anybody differently from anyone else and how on earth would Stage Door personnel know where anyone sat in the auditorium.

 

Am I out of order in hoping this thread simply sticks with comments specifically dealing with the Bolshoi's production of Swan Lake.  

 

I saw the last two performances of SL and was going to submit a commentary here (as I had previous performances) but I now feel I have been discouraged in doing so much as Coated was in delivering his notations on FofP.  Perhaps it is time to start a blog to record one's thoughts and simply share them here when it has been shown to be appropriate.  

 

Bruce, please post your thoughts.

 

I have hidden a post because it breaches AUP.

 

Please keep this thread for discussing in a respectful, non-confrontational way, your thoughts on the Bolshoi's Swan Lake be those thoughts good, bad or indifferent.