The Royal Ballet: The Sleeping Beauty performances, 2016-2017

[betterankles]

De Valois coached that solo in a very neo classical way, with non violent twists of the wrists, and huge amounts of epaulements - not the short sharp twists sometimes done.

[bridiem]

Surely a dancer and her performing style are indivisible.

 

Could I just point out that Beryl H said that the performance seemed to her 'almost a joke at first' - not that it or she was a joke - and she went on to give high praise to Osipova.

[John Mallinson]

Surely a dancer and her performing style are indivisible.

 

Not sure that I agree. I don't equate what you do with who you are. Does this relate to the conundrum in Alice "…you might just as well say that 'I see what I eat' is the same thing as 'I eat what I see'!"?

 

Apologies for flippancy - mustn't subvert this thread any further.

[Geoff]

I think that the gifts that they give depends on production to production.

 

Here is my take on the Fairy Gifts

 

1) Modesty and Grace.

2) Intelligence and Honour

3) Beauty and Generosity.

4) Music and Song.

5) Charm and Eloquence.

6) Wisdom

Certainly the NAMES of the fairies change from production to production, see for example this useful table:-

 

http://balletalert.invisionzone.com/uploads/monthly_10_2007/post-848-1191874847.jpg

 

But, as I started to allude to in my no doubt underinformed original post, the GIFTS themselves were set by Vsevolozhsky and Petipa, and are written into the choreography (eg the purity mime - incidentally "honesty" might do as well as a translation as "purity", remember we are dealing with English versions of Russian descriptions derived from French!) As such the gifts by definition cannot change without the choreography being changed. The audiences of the time would have understood what gifts were being offered, simply by watching the show rather than needing to read a programme or be told the names of the fairies.

 

Nonetheless here goes (approximate names only, of course, as above):-

 

1 - Purity / honesty

2 - Grace / dancing

3 - Generosity / fertility

4 - Laughter / singing

5 - Passion / power

6 - Wisdom

Edited February 26, 2017 by Geoff

[Odyssey]

It might be interesting to have a thread in which we name our ideal list of ballerinas from across the years for each of the variations.

[Amelia]

Natalya Osipova’s technical prowess allows her to master any role but she was always solicitous about performing the purest classical roles. She knew very well that her volcanic temperament had to be kept under control and did it diligently in The Nutcracker and in Swan Lake. Judging by 2010 youtube clips of her “Sleeping Beauty” in ABT, which prowl about the internet, prove that she could be a more demure Aurora then than we saw her last night. She had an excellent coach at ABT - Irina Kolpakova who was herself an unforgettable, perfect Aurora.

What makes Osipova special for me is her liveliness, agility, she is always alive and real on stage, and she is never the same. That is why I find her so interesting to watch. It was a mystery for me what kind of Aurora she will be this time, at the ROH.

In Act 1 Osipova was the most vivacious Aurora of all that I saw in the last decades. (The other quicksilver Aurora I remember was Olga Lepeshinskaya.) The teenager delighted in praises and adoration and her dancing expressed it - for me it was not out of place.

Then there were two excellent acts where all challenges of this role were met by Osipova without  striking a blow. She danced so easily that I caught myself thinking: how and why it looks so easy?

Another thing I admire is that her every following performance is better than the previous one. She is really an inexhaustible toiler and a great talent! 

Edited February 26, 2017 by Amelia

[LinMM]

I haven't seen Osipova in this role yet ....have Wednesday for this pleasure!

 

But I don't see why Aurora has to be necessarily a shy or demure little thing! That is just one interpretation.

I'd be happy to see a different take on it.

 

I don't happen to think Beryl was being rude about Osipova in her post I think I got her point .....at least I think she was saying Osipova's performance was such a different interpretation from the matinee one ....that it was a bit of a shock ( rather than a joke) however I'm not sure about this separation of dancer from her performance.....when talking about the performance itself!!

What I mean is yes of course there is the private person who happens to dance as a profession BUT when talking about any element of that dancer and their performance then of course they cannot be separated!! The comment was on Osipova's performance of course not on her as a private person.....However I can see that some may see the word "joke" because it was talking about her interpretation of the role as a bit offensive because Osipova is a great artist not because it was saying Osipova is a joke herself.

Sorry if this a bit long winded.

[Bruce Wall]

Was a bit surprised to see this in my inbox this morning:

 

https://www.meetup.com/Lets-Do-London/events/235325187/?gj=wc1d.2_e&rv=wc1d.2_e

 

Are people really allowed to buy 30 (that's THIRTY) slip seats at face value and then charge a £2.50 admin charge over that ... for an online 'meetup group' and then sell them on.  I would have thought that was edging against the law ... but then who am I?  They are not - as far as I am aware - one of the ROH recognised groups ... but then there may be a goodly number of other such like bodies which are not posted but permitted in some fashion by the organisation to - what might otherwise be known - as 're-sell' to what here must be termed 'the general public'.

 

I only placed this here as it bears specifically for Tuesday's performance of SB.  It seems they already have had one other such outing during this particular run.  

 

Perhaps this kind of activity elsewhere contributed too towards the 2nd May Mayerling logjam amongst the poverty stricken.

 

Just curious.   

Edited February 27, 2017 by Bruce Wall

[MAB]

Bruce, I listened to a radio programme concerning bot buying where a programme can be created to buy up to 30,000 tickets in a couple of seconds.  The examples given were of over subscribed rock concerts at huge venues and the profits they can make are enormous.  Sounds to me as if someone is experimenting in a different genre.

 

The practice creates a shortage of bona fide seats, ROH will have to install a special firewall to counter these opportunists.

[alison]

They also appear to have benefitted from a group booking for better seats:

https://www.meetup.com/Lets-Do-London/events/235324846/

 

I'm not sure there's necessarily anything wrong with *this*: they *are* organising an event around the performance which probably takes time and effort to do - any more than there is with organisations charging an admin fee for discounted or free tickets, but it certainly is interesting.  I believe group bookings open before public booking, don't they - or otherwise how would you ever get enough seats together to arrange anything?  And I'm not sure that the ROH has "approved" groups - I think anyone who wants to buy a batch can do so (and I know of forum members who have) - although clearly they would need to be checked out to make sure they're not going against the spirit of the offer.

 

Here's the ROH page on group bookings: http://www.roh.org.uk/visit/tickets/group-bookings

The Watson Mayerlings, not surprisingly, are not among them.

[capybara]

I think that we are also discussing this on a separate thread. However, if I were to try to buy more than 4 tickets per performance, I would be blocked. So I don't understand how it is possible.

[Bruce Wall]

They also appear to have benefitted from a group booking for better seats:

https://www.meetup.com/Lets-Do-London/events/235324846/

 

I'm not sure there's necessarily anything wrong with *this*: they *are* organising an event around the performance which probably takes time and effort to do - any more than there is with organisations charging an admin fee for discounted or free tickets, but it certainly is interesting.  I believe group bookings open before public booking, don't they - or otherwise how would you ever get enough seats together to arrange anything?  And I'm not sure that the ROH has "approved" groups - I think anyone who wants to buy a batch can do so (and I know of forum members who have) - although clearly they would need to be checked out to make sure they're not going against the spirit of the offer.

 

Alison, one thing:  'Organisations charging an admin fee for discounted or free tickets' - in general practice - are usually GIVEN the tickets (with terms) by the producing/presenting entities as so called 'fillers' and thus are fully aware of the circumstances.  LEGALLY THE PRODUCERS/PRESENTERS MUST BE MADE AWARE OF ANY CHARGES BY THEIR RECIPIENTS.  That would not be the case here with the 'meetup group' I think - where a group booking was purchased in advance and then 'sold on'.  Perhaps with the ROH they have to declare in advance that they are selling on?  (Have any BcoF members - as Alison suggests - have experience of this? Maybe even with SB - bringing it back on topic?)  I would have thought there might otherwise be a legal difference/tangle.

Edited February 27, 2017 by Bruce Wall

[alison]

I've just edited my post above to add the ROH group bookings page, capybara.  There's a downloadable list of performances to which they apply.

[FLOSS]

It is wonderful to attend performances of Beauty when the music is played at the right speed it makes the choreography look light rather than heavy and monumental. The decision to employ "specialist" Russian ballet conductors which I think began with the Markarova production of Beauty in 2003 was always a mystery to me. No doubt it pleased dancers and fans who think that Beauty is only about the balances of the first act Rose Adagio  but the overemphasis on that iconic section of the ballet distorted its overall structure and made the third act grand pas de deux which was created as the ballet's culmination feel more like a damp squib than something extra special expressing in dance form Aurora's newfound maturity and grandeur.I for one hope that we have seen the last of such "specialist" conductors.

 

The 1978 recording is an historic document in more ways than one. The score including the music for the Fairy Variations was performed very close to concert tempi. While I don't necessarily think that all the variations were ideally cast all the dancers in the ballet were following de Valois' line on the height of arabesques and the nature and detail of each role's epaulement.Laura Connor cast as Violente/Golden Vine did the Nijinska version of the choreography and it does look odd now.All the Fairy variations were danced at a speed only a second or two slower than Andre Previn's account of them in his LSO recording. Lesley Collier managed to dance Canari qui Chante/ Song Bird about a second faster than Previn.

 

While the variations have generally looked better during  this revival than the 2014 revival they still fail to make the impact they should. They should appear like little choreographic jewels in performance instead their impact tends to be rather hit and miss.It does not appear to be a simple question of miscasting, coaching appears to be a factor. I think that those who went to the insight evening at which Dame Beryl provided a little impromptu coaching can see that a significant part of the problem appears to lie in the system of coaching currently in place for these roles.A Ballet Mistress can take a dancer so far but these roles which were created to display the Mariinsky's own stars require extra polish and work on the finer details of both epaulement and stagecraft. This really needs to come from those with experience of dancing these roles.As there are a number of former dancers who had the benefit of coaching in those roles by de Valois who are still alive it seems really odd that Kevin has not seen fit to invite some of them to come in and coach his young dancers. 

 

Donald McLeary said something very interesting at the Ashton Foundation masterclass on the 19th February where he was involved in coaching a pas de deux which Ashton had created for Beriosova and him. I think that what he said sounds very obvious but when you watch dancers in performance you begin to see that many of the dancers, not just the young ones, need to hear them What MacLearey said is of universal application to all dancers. "When you come on stage at the beginning of a pas it is not enough to come on stage. You have to tell the audience that you have arrived".

 

He said that Beriosova was very aware of the need to announce her presence on the stage.As she arrived on stage she would pause and look out into the auditorium. She would look up to the slips where she imagined an audience member who was at his/her first ballet. She looked up to the amphi where she imagined a man with his wife and children out on a family treat and into the stalls. it was a way of acknowledging the presence of the audience and saying "This is for you". He said that it has the effect of drawing the audience into the performance.Dame Beryl said something similar when she delivered her impromptu Lilac Fairy coaching session She told Storm-Jensen that the Lilac Fairy's gestures which reach out to the audience should be used to draw the audience in. She emphasised that the gestures had to be really expansive,generous and welcoming to draw the audience into the performance.

 

At the Saturday matinee a friend commented that there is something wrong when Carabosse makes a better job of the Candide/ Crystal Fountain variation epaulement than the fairy who had danced it and whom she was now mocking. Am I the only one to feel that as currently performed Crystal Fountain appears to confer the gift of blandness? O'Sullivan seems to be rather good at announcing her arrival on stage and in using her eyes in performance. I wonder whether this is innate .or whether this is something she acquired as a result of being one of the dancers involved in the Ashton coaching event on the 19th February? Perhaps they should just ask Donald MacLeary to come in to sort out the Fairy Variations by giving them the final polish which they need. Perhaps he might give a few helpful hints to the new Princes about unobtrusive partnering. It would be wonderful if he could break them of the habit of paddling dancers who are good turners. As he said on the 19th "If you use your head you will turn".

Edited February 27, 2017 by FLOSS

[Scheherezade]

Coaching deficiencies. Has anyone written to Kevin O'Hare with their concerns or suggestions?

[Saodan]

...they *are* organising an event around the performance...

 

 

Judging by the details on the site ("Aim to arrive by 7pm at the latest"), it looks like this 'event' is escorting you from the door to your seat. This seems like blatant profiteering to me. 

 

Ok, after writing that I thought I'd look at the site more. It looks like the aim is to help groups of like minded people do things together. Perhaps that more understandable, but it still seems an open invitation for exploitation. 

[FLOSS]

Scheherezade

Writing to the AD about the quality of the coaching available for dancers taking roles like the Fairy Variations is easier said than done. The variable quality of the coaching at the RB has always been the company's weak spot. Providing coaches, as they do at the Mariinsky or the Bolshoi, where dancers who have been singled out as having real potential are given their own coaches is something of a luxury. The lack of adequate coaching at Covent Garden for non Principals is something which Xander Parrish has spoken about on more than one occasion

 

I am not sure how you write to the AD to say "I think that you should give dancers undertaking roles like the Fairy Variations more specialist coaching" or by the way "You need to teach your highly talented dancers lessons in stagecraft so that their performances really register" would go down. Kevin was present at the event at which we witnessed the transformative effect of Dame Beryl's impromptu coaching so he is aware of what happened.

 

Anyone writing about the lack of adequate coaching for dancers who need it is touching on something about which I suspect the company management is  pretty sensitive. I imagine that it is as much  a question of company culture as it is of cost. There is also the comparative youth of the company the major European ballet companies are several hundred years older than the RB and it takes time to recognise the need to set up systems which ensure that all elements of the company receive coaching of the type which they need. Any letter would have to be carefully constructed with lots of strategically placed "sugaring of the pill* to ensure that the important elements of it were read .It is the equivalent of one of those exercises that were reputedly given to high fliers in the Foreign Office in which they were required to write to the wife of a dictator to explain why it was impossible for the police to shoot the demonstrators who had disrupted her visit to this country.

Edited February 27, 2017 by FLOSS

[bangorballetboy]

O'Sullivan seems to be rather good at announcing her arrival on stage and in using her eyes in performance. I wonder whether this is innate .or whether this is something she acquired as a result of being one of the dancers involved in the Ashton coaching event on the 19th February?

 

This is definitely not something O'Sullivan has just learnt in the last two weeks.

[capybara]

This is definitely not something O'Sullivan has just learnt in the last two weeks.

 

So right, bbb. Anna Rose has, from her White Lodge days at least, been one of those (comparatively rare) dancers who comes on stage and says, "Here I am!" irrespective of role. Love it; love her!

[bridiem]

 

He said that Beriosova was very aware of the need to announce her presence on the stage.As she arrived on stage she would pause and look out into the auditorium. She would look up to the slips where she imagined an audience member who was at his/her first ballet. She looked up to the amphi where she imagined a man with his wife and children out on a family treat and into the stalls. it was a way of acknowledging the presence of the audience and saying "This is for you". He said that it has the effect of drawing the audience into the performance.Dame Beryl said something similar when she delivered her impromptu Lilac Fairy coaching session She told Storm-Jensen that the Lilac Fairy's gestures which reach out to the audience should be used to draw the audience in. She emphasised that the gestures had to be really expansive,generous and welcoming to draw the audience into the performance.

 

 

That's interesting, because I felt that that was exactly what Storm-Jensen did on Saturday.

[Fonty]

Scheherezade

Writing to the AD about the quality of the coaching available for dancers taking roles like the Fairy Variations is easier said than done. The variable quality of the coaching at the RB has always been the company's weak spot. Providing coaches, as they do at the Mariinsky or the Bolshoi, where dancers who have been singled out as having real potential are given their own coaches is something of a luxury. The lack of adequate coaching at Covent Garden for non Principals is something which Xander Parrish has spoken about on more than one occasion

 

 

 

Surely coaching should be seen not as a luxury, but as a necessity?  Any performer would grab the opportunity to learn from those who were considered masters in a particular role.  To use the old cliche, trying to learn something without this vital input is the same as trying to reinvent the wheel.

 

 

Anyone writing about the lack of adequate coaching for dancers who need it is touching on something about which I suspect the company management is  pretty sensitive. I imagine that it is as much  a question of company culture as it is of cost. There is also the comparative youth of the company the major European ballet companies are several hundred years older than the RB and it takes time to recognise the need to set up systems which ensure that all elements of the company receive coaching of the type which they need. Any letter would have to be carefully constructed with lots of strategically placed "sugaring of the pill* to ensure that the important elements of it were read .It is the equivalent of one of those exercises that were reputedly given to high fliers in the Foreign Office in which they were required to write to the wife of a dictator to explain why it was impossible for the police to shoot the demonstrators who had disrupted her visit to this country.

 

I find this idea deeply depressing.  The very thought that any company management would have to be sweet talked into "allowing" their current employees to receive coaching is terrible.  I am sure there are plenty of ex dancers around who would be delighted to pass on their knowledge, and are probably scratching their heads wondering why they have never been asked to do so.  And I don't believe they would ask so much money, that the RB coffers couldn't afford it.  

Edited February 27, 2017 by Fonty

[FLOSS]

I wish I could share your optimism about the coaching available at the RB Unfortunately experience suggests that while the organisation looks after its Principal dancers it does not give young and inexperienced dancers the coaching and support that they need.Of course things may have improved since Xander Parish was a company member, It would be nice to think it has altered since Kevin became AD but the number of dancers failing to make  much of an impression in the Fairy Variations suggests that it has not improved that much. The problem it seems to me is not that there is no one available and willing to provide the right sort of coaching but that the management does not seem to recognise the need for it. I was merely suggesting that if anyone proposes to write to Mr O'Hare about coaching they need to be diplomatic about it. This it seems to me is common sense. No one wants to be told that they are not doing a good enough job but they might  be prepared to think about how they could improve what they are doing.

Edited February 27, 2017 by FLOSS

[Jane S]

I would guess the answer is that they put on so many casts that they simply don't have time to give in-depth individual coaching to all of the soloists.

[Scheherezade]

(re: Floss, on 27 Feb 2017 - 3:26 PM: Anyone writing about the lack of adequate coaching for dancers who need it is touching on something about which I suspect the company management is  pretty sensitive....Any letter would have to be carefully constructed with lots of strategically placed "sugaring of the pill* to ensure that the important elements of it were read .It is the equivalent of one of those exercises that were reputedly given to high fliers in the Foreign Office in which they were required to write to the wife of a dictator to explain why it was impossible for the police to shoot the demonstrators who had disrupted her visit to this country.)

 

 

I find this idea deeply depressing.  The very thought that any company management would have to be sweet talked into "allowing" their current employees to receive coaching is terrible.  I am sure there are plenty of ex dancers around who would be delighted to pass on their knowledge, and are probably scratching their heads wondering why they have never been asked to do so.  And I don't believe they would ask so much money, that the RB coffers couldn't afford it.  

 

As do I (find it depressing), along with the fact that those who feel the lack of adequate coaching most keenly, and have the expertise to criticise and the nous and imagination to offer a remedy, feel that they have to pussyfoot around the matter out of consideration for the fragile egos of those who can implement improvement. Perhaps what is needed is the equivalent of the much lamented Brian Walden interview technique.

[capybara]

In this respect, it is interesting that Yasmine Naghdi emphasised in her Dance Europe 'interview' how much she valued the fact that Alexander Agadzhanov pushed her really hard and then pushed some more.

[LinMM]

Who would teach a young dancer a fairy variation from Sleeping Beauty in the first place then....they're not surely asked to learn from videos? Wouldn't it already be experienced dancers who have danced these roles who pass them on? So a form of coaching.

[Nina G.]

In this respect, it is interesting that Yasmine Naghdi emphasised in her Dance Europe 'interview' how much she valued the fact that Alexander Agadzhanov pushed her really hard and then pushed some more.

 

 

Alexander Agadzhanov also coached Yasmine Naghdi (she states in the interview) in the role of the Sugar Plum Fairy. Naghdi getting a Russian coach produced results we all witnessed.

[Legseleven]

I wonder if he coached Yasmine Naghdi as the Rose Fairy too? I was bowled over by her radiance in that part, despite the performances of Lauren Cuthbertson as the SPF and Francesca Hayward as Clara and she more than held her own despite having a much smaller role.

[Fonty]

I would guess the answer is that they put on so many casts that they simply don't have time to give in-depth individual coaching to all of the soloists.

 

I can see that individual coaching to each soloist might have time constraints.  However, I can't see any problems with an in-depth group coaching session for all the people who are scheduled to dance particular solos. Why couldn't someone of Beryl Grey's stature have been asked to do a class for soloists,  where she could teach the finer details of the Lilac Fairy to all those who need it? 

 

Ok, I know people might say, "Oh, the dancers have such packed days, there simply isn't time for this." But they have to make time.   Otherwise, it seems they are taught the steps by someone, and then presumably learn from each other, or videos, rather than from an expert.  And the result is that this forum is full of complaints about lack lustre performances and dancers being unable to cope with the technical difficulties.

 

I feel sorry for the dancers in the lower ranks, if that is the case.  It must be extremely frustrating.  

[Bruce Wall]

I can see that individual coaching to each soloist might have time constraints.  However, I can't see any problems with an in-depth group coaching session for all the people who are scheduled to dance particular solos. Why couldn't someone of Beryl Grey's stature have been asked to do a class for soloists,  where she could teach the finer details of the Lilac Fairy to all those who need it? 

 

Ok, I know people might say, "Oh, the dancers have such packed days, there simply isn't time for this." But they have to make time.   Otherwise, it seems they are taught the steps by someone, and then presumably learn from each other, or videos, rather than from an expert.  And the result is that this forum is full of complaints about lack lustre performances and dancers being unable to cope with the technical difficulties.

 

I feel sorry for the dancers in the lower ranks, if that is the case.  It must be extremely frustrating.  

 

Also it would be grand to film such and keep it as an open resource - and a requirement to view - for any future dancers depicting these roles.  

[Jamesrhblack]

I believe that Dance Europe will cover the debuts across the March and April editions.

Fairly detailed assessment by Jonathan Gray in The Dancing Times of Hayward, Naghdi, Ball and Clarke. Interestingly, he found Hayward wanting in Act 3 and felt that the fish dives "were taken tentatively."

[bridiem]

Also it would be grand to film such and keep it as an open resource - and a requirement to view - for any future dancers depicting these roles.  

 

That would be excellent, but I do wonder if it would be fair on dancers always to have such coaching sessions recorded for posterity - they must be allowed to learn, ask questions, make mistakes etc and that must sometimes be easier in 'private'.

[bridiem]

Fairly detailed assessment by Jonathan Gray in The Dancing Times of Hayward, Naghdi, Ball and Clarke. Interestingly, he found Hayward wanting in Act 3 and felt that the fish dives "were taken tentatively."

 

Could he have been watching the same performance??