Applause styles

[Geoff]

There are occasional comments on the Forum about applause styles (for example at Russian galas or the recent Bolshoi season). These discussions came to mind as I watched an unusual dvd copy of the operetta “Czardasfuerstin” from 1963 (by Kalman and also known variously as The Riviera Girl, The Gipsy Princess and Silva). I am unreasonably fond of this work and so did not mind that it was a recording of a live performance from Budapest conducted entirely in Hungarian (which I do not speak), transmitted I assume on Hungarian tv during the Soviet era.

 

This historical record from over 50 years ago has many points of interest in relation to performance style and also the (enthusiastic and very frequent) audience responses. Most entrances of most cast members were applauded, as were many exits, some laugh lines and several not always exceptional bits of business. Just the milking of the encores alone would provide enough material for a theatre studies dissertation.

 

Different countries have different traditions, which can be deeply imbedded and last for many years. In fact I have seen mittel-European operetta productions within the last 5 years which adhered, if only somewhat, to similar conventions. Such conventions would however be as alien to a London audience as, say, the rituals of a pantomime at the Sunderland Empire would be to habitués of standing places at the Vienna opera.

 

In any case, the dvd was an eye-opener: the behaviour was so different to what one is used to now

in Britain. Perhaps others have local examples from decades ago by way of comparison?

[Geoff]

Just to add a couple of points to the above. First, just in case it was not obvious from what I wrote before, every single number (indeed once or twice even a single verse) was enthusiastically applauded.

 

And - here is a direct comparison with sounds made by some audiences at the ballet - when a number was particularly well liked, the audience signalled its exceptional approval with loud, all-together-now rhythmic clapping (which the performers took as a command to perform another encore).

 

This clapping is similar to a British audience saying we're-bored-that-nothing-is-happening-please-start, although much faster. The same sound appears sometimes at the ballet, particularly with Russian audiences towards the end of favoured variations.

Edited August 27, 2016 by Geoff

[Jan McNulty]

I've not had a chance to post on this before now.

 

I went to Russia in 1986 and that was the first time I had experienced applause other than what we experience in the UK.  OK, I'm name dropping but the first performance we saw was in St Petersburg and it was Altynai Assylmuratova and Farouk Ruzimatov in Don Q and the audience was obviously very appreciative.  At the time I was very impressed by the rhythmic clapping and foot stamping.  It was a night I shall never forget!

 

My next experience was in Budapest the following year.  At the end of the performance there was the rhythmic clapping but it started slowly and worked up to a frenzy!

 

When the late Christopher Gable moulded Northern Ballet into the company he wanted, performing mostly dramatic, narrative ballets he preferred the audience not to clap during the performance so that the narrative flow was maintained.  I still behave like that and, unless there is an obvious applause break, I do not applaud until the end of the act.

 

I know I have mentioned this before but I once saw an awesome performance of Alicia Alonso's production of Don Q in Copenhagen by the RDB with guests Joel Carreno and Anette Delgado from Cuba.  The juxtaposition of Bournonville and Vaganova training was most marked and, of course, the grand pas was spectacular.  A lot of the audience were on their feet cheering well before the end of the coda.  It was so exciting to witness this performance that something that would otherwise have driven me round the bend was just a joyous experience!

[Katharina]

Perhaps others have local examples from decades ago by way of comparison?

 

Not from decades, but centuries ago : - )

 

Here is a quotation from the published conversations of Johann Wolfgang von Goethe with J. P. Eckermann, 1830 (translation by John Oxenford) about applause in Italian opera houses:

 

"What I had been told in Germany about the loud Italian public I have found confirmed; and, indeed, the longer the opera is played, the more does the noise of the public increase. A fortnight ago I saw one of the first representations of the “Conte Ory.” The singers were received with applause on their entrance; the audience, to be sure, talked during the less striking scenes, but when good airs were sung all was still, and general approbation rewarded the singers. The choruses went excellently, and I admired the precision with which voices and orchestra always kept together. But now, when the opera has been given every evening since that time, the public has totally ceased to pay attention; everybody talks, and the house resounds with the noise. Scarcely a hand is stirred, and one can scarcely imagine how the singers can open their lips on the stage, or how the instrumentalists can play a note in the orchestra. There is an end to zeal and precision; and the foreigner, who likes to hear something, would be in despair—if despair were at all possible in so cheerful an assembly."

 

(this is about Milan)

Edited September 3, 2016 by Katharina

[LinMM]

Janet I am SO jealous .....altynai Assylmuratova and Farouk Ruzimatov!! The two I've missed that I would most love to have seen especially dancing together!!

I'd have been in no condition to clap if I'd been there!!

[alison]

I can't quite imagine Asylmuratova as Kitri.

[Jan McNulty]

I have never forgotten the speed and attack of her dancing. Her feet just flew over the stage. I thought she was a wonderful Kitri!

[Tatiana]

I noticed that when I went to see the Bolshoi's Swan Lake this year, the applause style was much like what OP had described; clapping after every scene, after laugh lines, etc. But with performances by English companies I've always experienced a much more subdued audience. I hate to say it, but maybe it's because going to see the Bolshoi for a SL performance is more "touristy?" I assume you'd have a lot more people there who weren't used to ballet than in an audience for something less well-known. (It was magical, nonetheless, despite the noisy audience!)

[alison]

Welcome to the forum, Tatiana.  I love the avatar (is it Cojocaru?  I can't tell at that size)

[Tatiana]

It is, and thank you! An absolutely breathtaking performance from Alina, as always.