Jump to content

English National Ballet: Mary Skeaping's Giselle, London Coliseum 2017


Recommended Posts

  • Replies 185
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

Really?  I used to have to do it for work sometimes, and I'm sure it took me more like 15-20, coming out from the "corner" main entrance at Waterloo.

 

 

 

Yes, me too.  Ten minutes would be a run!

 

 

 

Ok, maybe its closer to 15 minutes. And I do tend to walk fast!

Link to comment
Share on other sites

I'd like to post something more substantive later but, for the moment, I need to record my delight at the very affecting performance yesterday afternoon from the ENB 'home team' of Alison McWhinney (Giselle), Yonah Acosta (Albrecht), Isabelle Brouwers (Myrtha) and Daniel Kraus (Hilarion). The power of the Wilis was especially palpable.

Agreed. Despite having a horribly restricted view from Seat 4 of a stalls box in which only seats 1-3 should really be sold :( it was a terrific performance. Yonah Acosta's acting exceeded all my expectations, having last seen him struggling somewhat to project as Siegfried at the RAH. He had a wonderful connection with his Giselle; such tenderness!

 

Alison McWhinney was outstanding in the title role. Sunny and joyful but sufficiently petite and fragile for a Giselle who dies of a failing heart (as opposed to stabbing herself), she was technically brilliant and inhabited the role completely. I know the music helps (and the orchestra sounded fabulous) but I was genuinely rather horror-struck when she drew the line round the stage with the sword.

 

Lovely to see James Forbat dancing beautifully in the demanding Peasant pdd. I would have loved to see him dancing Albrecht but will keep my fingers crossed for him to dance Romeo in the summer.

 

Young Isabelle Brouwers was excellent as Myrtha; fantastic leaps and beautiful port de bras. She wasn't as terrifying as some Myrthas I've seen but I can see that steely terror increasing as she gains in confidence in the role.

 

Considering the short time ENB has had to rehearse this ballet since Nutcracker I thought the Corps in particular was brilliant. Not a waver as they stood fixed in position in Act 2 (those dancers I could see from my seat, anyway) and their power and vengeance was absolutely palpable as they swirled around Hilarion and the gamekeepers. They were so in synch too. Standout Corps dancer in both Acts was Amber Hunt - terrific acting during the Mad scene and authoritative powerful spirit in the second.

 

I should also put a word in for the lighting and production designer because they really contributed to the performance. The temperature almost seemed to drop when the lighting dimmed slightly during Berthe's (not very informative) mime, and the mist and shadows during Act 2 were perfect. I was somewhat surprised by the rather grand (and expensive looking) cross but no doubt there is some reason behind it. Likewise, my daughter wondered why Giselle had a grand headstone but wasn't buried on consecrated ground even though she clearly hadn't stabbed herself.

 

Despite the atrocious view I was absolutely absorbed by ENB's performance yesterday. I had wanted to see Alison McWhinney and she didn't disappoint. A beautiful performance. Let's hope we see more of her in lead roles this year.

  • Like 10
Link to comment
Share on other sites

About Giselle's grave: I've read some posts on an old forum, and several possibilities were put forward. The first is that it might indeed be in consecrated ground, because some graveyards were in forests rather than by the church; the other is that even if she did not kill herself, because her death was so sudden she would not have been 'shriven' i.e. had her sins forgiven, and in those circumstances sometimes burial in consecrated ground would have been forbidden. Also, even if she did kill herself it was as a result of loss of mental capacity and so burial in consecrated ground would sometimes have been permitted. So I suspect that the grave doesn't necessarily prove or disprove either of the options about the manner of her death.

  • Like 5
Link to comment
Share on other sites

Irmgard's excellent article on the other thread about Mary Skeaping's restoration inspired me to track down the Heinrich Heine text that was originally drawn upon as the basis for the Wilis. 

 

Many thanks Quintus, both for finding the French text and for your translation. May I add something?

 

It is generally assumed – and quoted all over the place – that Heine first mentioned the Wilis in the text you found. In fact Heine, although living in Paris at the time, published first in German, a year earlier, 1834, in an essay called ‘Elementargeister’ (the sources are not entirely clear but it seems he then produced the French translation himself, publishing that in 1835). There are differences (e.g. Willis are spelled with two Ls; there is no reference to Slavs, it is just a folk tale from a part of Austria, but presumably originating from the Slav region of the empire): some of the broader changes are, so the editors of Heine’s collected works say, because of the more stringent German censorship at the time.

 

In the current ENB programme there is a short unsigned piece called ‘Skeaping returns to Adolphe Adam’s original score’ (if there is an attribution I missed it) which refers to ‘Heine’s poem’. There is no poem. Heine refers to the Wilis in an essay about all kinds of German spook. The key section is much as in Quintus’ translation, although Tanzlust is rather stronger than ‘love of dance’, and my loose rendering of the German as to what happens would be more along the lines of ‘they force young men to dance with them, in madness and fury until their partner is dead’. Heine then goes on to refer to Goethe's poem ‘The Bride of Corinth’ and seems to be hinting that the Wili dancing is (as so often) cryptosex.

 

Incidentally my researches also turned up an amusing review of the original ballet (during which a lever mechanism helped Giselle to float, an innovation later dropped) by none other than jobbing critic Richard Wagner. Wagner writes that Adam's music sounds like, as with the dance of the Wilis, he had composed himself to death ("zur Tode komponiert" – the joke is better in German). The reference is ‘Pariser Bericht’, Richard Wagner, published 3 August 1841 in the Dresden ‘Abend Zeitung’ and Wagner, writing in German, spells Willis with two Ls as well.

 

(If anyone would like the Heine in the original German, please PM me and I will send a scan of the relevant section).

Edited by Sebastian
  • Like 10
Link to comment
Share on other sites

Very interesting Sebastian, thanks. I'll message you an address for a copy as you kindly offer. I was expecting to have landed on a German poem, and the huge French tome 'de l'Allemagne' surprised me - it seems Heine was a kind of self-appointed German cultural ambassador to the French, and he produced it to counter the impression of Germany given in a work by Mme de Stael.  The paragraphs I quoted were set in a broader context of a discussion of the prevalence of succubus / siren / sexual vampire myths.  The sexual, seductive element of the Wilis dance that he refers to in both texts is not something that I've seen picked up in an interpretation on stage, unless I'm desensitised and missing it  - to my eyes they tend to be represented as frightening and imperious, but not seductive (and also acting en masse rather than as individual partners). If anything Akram Khan's version, with the canes, emphasised violence and duress over seduction yet further.  So there's still room for interpretation to justify a further production! 

  • Like 4
Link to comment
Share on other sites

Last night was my second viewing of this run.  I loved Alina's performance, as well as that of Isaac Hernandez.  I thought they worked very well together.  I was also very impressed with Michaela de Prince as Myrthe.  Such wonderful ballon, strong technique and great understanding of the role.  I am going for the final time tomorrow night to see Laurretta and Xander, so will write more impressions once I have seen the production for the third time.

 

Meanwhile, I have to vent:  I was sitting in the Dress Circle, having paid full price as a treat for my daughter and me, and for much of the first half of Act 2 I could hear the Coliseum staff shouting outside, the clanking of glasses, a very squeaky trolley being pushed up and down outside, another trolley thumping around and doors banging shut.  This came close to totally ruining the atmosphere of the Wilis in the forest, especially since everybody was turning around to see what all the noise was.  This is totally unacceptable, whether you've paid £1.00 or £100.  We shouldn't have to be subjected to that kind of noise when we are trying to watch a performance.  I will be writing to the front of house manager, but I just needed to have a bit of a rant!!

  • Like 6
Link to comment
Share on other sites

Oh Sim, what a shame.  I've experienced similar several times in the Balcony, but would not have expected to suffer from it in the Dress Circle :)

 

Sebastian, welcome to the forum, and thank you for that very useful post.  I too would be interested in a copy of the scan - I believe you can attach them to PMs, but if you can't let me know and I'll send you an email address.

Link to comment
Share on other sites

Last night was my second viewing of this run.  I loved Alina's performance, as well as that of Isaac Hernandez.  I thought they worked very well together.  I was also very impressed with Michaela de Prince as Myrthe.  Such wonderful ballon, strong technique and great understanding of the role.  I am going for the final time tomorrow night to see Laurretta and Xander, so will write more impressions once I have seen the production for the third time.

 

Meanwhile, I have to vent:  I was sitting in the Dress Circle, having paid full price as a treat for my daughter and me, and for much of the first half of Act 2 I could hear the Coliseum staff shouting outside, the clanking of glasses, a very squeaky trolley being pushed up and down outside, another trolley thumping around and doors banging shut.  This came close to totally ruining the atmosphere of the Wilis in the forest, especially since everybody was turning around to see what all the noise was.  This is totally unacceptable, whether you've paid £1.00 or £100.  We shouldn't have to be subjected to that kind of noise when we are trying to watch a performance.  I will be writing to the front of house manager, but I just needed to have a bit of a rant!!

Same, Sim - I know there's a bar behind the Stalls boxes but I've never heard any similar noise before. It went on for a good while on Sunday afternoon - shocking!

  • Like 1
Link to comment
Share on other sites

Many thanks Quintus, both for finding the French text and for your translation. May I add something?

 

It is generally assumed – and quoted all over the place – that Heine first mentioned the Wilis in the text you found. In fact Heine, although living in Paris at the time, published first in German, a year earlier, 1834, in an essay called ‘Elementargeister’ (the sources are not entirely clear but it seems he then produced the French translation himself, publishing that in 1835). There are differences (e.g. Willis are spelled with two Ls; there is no reference to Slavs, it is just a folk tale from a part of Austria, but presumably originating from the Slav region of the empire): some of the broader changes are, so the editors of Heine’s collected works say, because of the more stringent German censorship at the time.

 

In the current ENB programme there is a short unsigned piece called ‘Skeaping returns to Adolphe Adam’s original score’ (if there is an attribution I missed it) which refers to ‘Heine’s poem’. There is no poem. Heine refers to the Wilis in an essay about all kinds of German spook. The key section is much as in Quintus’ translation, although Tanzlust is rather stronger than ‘love of dance’, and my loose rendering of the German as to what happens would be more along the lines of ‘they force young men to dance with them, in madness and fury until their partner is dead’. Heine then goes on to refer to Goethe's poem ‘The Bride of Corinth’ and seems to be hinting that the Wili dancing is (as so often) cryptosex.

 

Incidentally my researches also turned up an amusing review of the original ballet (during which a lever mechanism helped Giselle to float, an innovation later dropped) by none other than jobbing critic Richard Wagner. Wagner writes that Adam's music sounds like, as with the dance of the Wilis, he had composed himself to death ("zur Tode komponiert" – the joke is better in German). The reference is ‘Pariser Bericht’, Richard Wagner, published 3 August 1841 in the Dresden ‘Abend Zeitung’ and Wagner, writing in German, spells Willis with two Ls as well.

 

(If anyone would like the Heine in the original German, please PM me and I will send a scan of the relevant section).

Sebastian, thanks for pointing this out.  That 'unsigned' article is mainly lifted from the programme note I wrote in 1984 and first appeared in the 2007 or 2009 programme as an anonymous article. I did ask that it not be used this time because, as you rightly mention, there is at least one mistake in it, including referring to Heine's "Poem". (as you will see in my article posted elsewhere on here, I changed this to Heine's "text".  In fact, three out of the four paragraphs in the unsigned article are almost directly quoted from my 1984 article and I have learned a lot in the intervening years!   When Mary first staged the ballet in Sweden, the Opera House still had the old 'lever mechanism' and Skeaping used this for the moment when Giselle should appear to hover over her grave and drop petals onto Albrecht (also used in "La Sylphide" when the Sylph shows James the bird's nest etc.).  The ballerinas in Sweden told me that it was an extremely uncomfortable contraption!  Needless to say, when creating the touring production for ENB, Skeaping came up with another method!

 

Quintus, indeed the Wilis SHOULD be seductive and, in my one opportunity to address the company about this, I mentioned that they are similar to the anti-heroine of Heine's poem "Die Lorelei", enticing men to their doom, a rather early example of fatal attraction!  This is also why David Walker and Mary Skeaping insisted that they always look beautiful in their costumes and jewelry. Even Skeaping's opening scene in Act II should show that the gamekeepers are at once attracted and terrified of the vision of the Wilis that appears to them.  There is one moment in the Skeaping production when Myrtha flies around the gamekeepers, enticing and then rejecting them, which Summerscales did exceedingly well on opening night.  However, once they have caught their prey (Hilarion and Albrecht) then vengeance takes over!

  • Like 11
Link to comment
Share on other sites

I also had my second viewing last night. I thought Cojocaru was terrific. Very different from her (beautiful) early performances, when she was a shy and tentative Giselle who looked only to her Albrecht for support. Now, a mature artist, and indeed a star, she dominated the stage and (for me) dominated her Albrecht. Lots of detail and individuality, and superb technique. I found Hernandez by comparison very pale; more like an obedient puppy than a nobleman. Very handsome, brilliant dancing - he really looks the part. But I got no real connection between them, and felt no real involvement in his character. I also found it difficult to understand why this Giselle should fall for this Albrecht. But Cojocaru's freneticism (if that's a word!) in the early scenes effectively laid the path to her subsequent collapse. Her mad scene was so moving - I've never before seen a Giselle go to various different men amongst the bystanders and grasp their faces, looking into their eyes, as if she could no longer be sure if one of them was Albrecht, or if any of them were Albrecht, or if any man - or any person - could now be recognised or trusted.

 

Michaela DePrince was amazing as Myrthe, even more so than last week - incredible jumps! And the Wilis were brilliant, whirring and spinning and really frightening. The slight thumping noise when they do their hops across the stage and back added to the menace of the music to produce a truly terrifying effect.

 

Having read Irmgard's article really helped too. I remembered the beautiful phrase 'the sun has risen, you are saved' which greatly enriched the final moments of the ballet. And from a Christian perspective, 'sun' being equated to 'Son' broadens it out into the more general idea of resurrection and salvation which makes Giselle such an immensely powerful work.

  • Like 6
Link to comment
Share on other sites

Last night was my second viewing of this run.  I loved Alina's performance, as well as that of Isaac Hernandez.  I thought they worked very well together.  I was also very impressed with Michaela de Prince as Myrthe.  Such wonderful ballon, strong technique and great understanding of the role.  I am going for the final time tomorrow night to see Laurretta and Xander, so will write more impressions once I have seen the production for the third time.

 

Meanwhile, I have to vent:  I was sitting in the Dress Circle, having paid full price as a treat for my daughter and me, and for much of the first half of Act 2 I could hear the Coliseum staff shouting outside, the clanking of glasses, a very squeaky trolley being pushed up and down outside, another trolley thumping around and doors banging shut.  This came close to totally ruining the atmosphere of the Wilis in the forest, especially since everybody was turning around to see what all the noise was.  This is totally unacceptable, whether you've paid £1.00 or £100.  We shouldn't have to be subjected to that kind of noise when we are trying to watch a performance.  I will be writing to the front of house manager, but I just needed to have a bit of a rant!!

That is interesting because lately I have noticed a continuous cracking sound around interval times every time I have been at the Coli (in the Upper Circle) it is almost like the sound when you crack yoghurt pots when they are in 4s - it is very distracting and ALWAYS at an inopportune moment.  

Link to comment
Share on other sites

I saw the performance on Friday 13th.  I was really impressed with everyone.  I also loved the production.  However I am sure I have seen ENB do Giselle before both at the Coli and Liverpool and think it was this version but I do not recall anything of what I saw this time! It has been a while since they did Giselle.  The sets haven't changed have they?  Anyway I liked it a lot - and whilst I found the lighting in Act 2 rather dark for me it was atmospheric.  I loved the mossy green dresses of Act 2 as well.

Laurretta Summerscales was a super Giselle lovely dancing and mime and I was really enthralled in Act1.  I found Xander Parish's acting and mime really clear and I feel that he really "is" Albrecht.  He is a perfect dancer for the role.  Michaela de Prince exhibited a fantastically high jump and performed Myrtha really well.  I have never found the Royal Ballet or other companies' Myrthas to have "that" difficult a role but in this version I can believe the role is fiendishly difficult as there was a lot more bouree-ing involved than other versions I have seen.    

There was an enthusiastic welcome at the stage door for all the dancers, including Xander's mum and dad who were so proud - and rightly so!  My camera phone decided to play up and not work so I missed out on getting a lovely photo of Xander and Laurretta posing together.  If anyone sees a photo of that please do let me know!

  • Like 2
Link to comment
Share on other sites

Gorgeous evening last night! I was so excited to see DePrince's Myrtha and she did not disappoint. So regal and commanding, and beautifully sad in her first solo. I could have watched her all night. Cojocaru of course as sublime as ever: I love how girlish and nervous her Giselle is in the first act. 

I also kept noticing Ken Saruhashi in the vine gatherers dance, he was a lot of fun to watch and got really into acting the part.

 

Only drawback was the bored couple next to me who kept whispering about how they didn't understand the story, which was interesting, as I find it's one of the easiest narrative ballets to follow. I'll admit that Giselle's death in this one is a little odd: she just dropped to the floor, somewhat randomly.. When did ballet companies get so scared of using the sword?

  • Like 1
Link to comment
Share on other sites

When did ballet companies get so scared of using the sword?

 

There are several posts on this thread from about post 24 on-wards that discuss this with the answer that in this production she dies of a weak heart.

Edited by RMM1
Link to comment
Share on other sites

There are several posts on this thread from about post 24 on-wards that discuss this with the answer that in this production she dies of a weak heart.

 

Thanks. It was kind of rhetorical. I just much prefer it when the sword is used, as it's clearer and I think it produces more of an effect on the audience.

  • Like 2
Link to comment
Share on other sites

Thanks. It was kind of rhetorical. I just much prefer it when the sword is used, as it's clearer and I think it produces more of an effect on the audience.

I agree, especially in this case where Berthe's mime is so much shorter than in RB's version, in which she makes it quite clear that Giselle has a weak heart and shouldn't dance too much.

Link to comment
Share on other sites

OK....re my rant above, I have emailed the front of house manager and will let you know what response (if any!) I get.

 

 

Regarding the production, I agree that all the mime in the Peter Wright version is much clearer than in the Skeaping version, but as this is the closest we can probably get to the original production, it isn't surprising that the original mime has been able to benefit from expansion and clarification over the years. 

  • Like 3
Link to comment
Share on other sites

I agree, especially in this case where Berthe's mime is so much shorter than in RB's version, in which she makes it quite clear that Giselle has a weak heart and shouldn't dance too much.

 

I have never really understood why they have kept this mime in the RB version, when she goes on to stab herself to death.  

  • Like 1
Link to comment
Share on other sites

Really enjoyed the performance last night.

 

Cojocaru was a wonderful Giselle for me and the way she played it made absolute sense that she died of a weak heart ....as she played the role as such a nervous and fluttery and really very young girl with Albrecht her obvious first "passion".... which also makes sense in why she doesn't take his betrayal that well. There were moments in her dancing in the first Act where I felt she was so at one with the music she appeared to just play with it ....as if dancing for the first time....a real mark of her artistry.

But it was in the second Act I felt she really came into her own.....such a lovely human tender and soulful Giselle....it was so moving when she showered Albrecht with the flowers ......no contraption needed just her presence beside him worked beautifully......and I really felt her sorrow at the final parting .....more so than from Albrecht.....I didn't want to let her go either!! Cojocaru's is a powerful performance because although she is the epitome of spirit and frailty itself on one level .....the love she feels and projects makes her seem strong as well. The humanity of her interpretation is so direct. She is now in my top three of Giselles as its the first time I've seen her do this role.

I'd also particularly booked this performance to see Michaela de Prince and I'm so glad I did as she was wonderful too. Just so light in her movements but very authoritative a great presence on the stage and I was left wanting to see her dance more. Would love to see her in other roles. so lovely to see her early promise and talent fulfilled on the London stage with what is rapidly becoming one of the best Companies in the World.

Isaac Hernandez was Albrecht and he is a fine young dancer.....not sure if this is his debut in the role .....and although I thought he was better in the second Act ....not bad at all in fact ...I do feel there was a bit of a mis match with him and Cojocaru. I don't think their relationship was established enough in the first Act to really believe he was truly in love with Giselle so hard to genuinely feel his pain in the second Act though he danced very well. Something was missing can't quite put my finger on it. I almost wanted her to be partnered with Hilarion .....I think danced by Fernando Bufala ....I felt he had more real passion. I know the role of Albrecht is somewhat tricky as he is only supposed to be flirting with Giselle as a nobleman etc but I prefer dancers who play it that they really have FALLEN for her ( be great if could be a real rebel who doesn't want to marry Bathilde!) even though they shouldn't. I need a bit of real quandary here for Albrecht to make that second Act believable. If it is the first time in this role for Hernandez then he has to be commended and I'm sure it will be onwards and upwards for him but I would have preferred a different partner for Cojocaru as she is such an artist in this role.

What do others think? Perhaps Xander Parish? Or who from the current Company? I love Corrales but somehow don't think that would work either!!

Inspite of this it didn't spoil the evening far from it ( just being a bit nit picky I think) was completely spellbound by that second Act....wonderful dancing by all.

  • Like 7
Link to comment
Share on other sites

Cesar Corrales delivered a stunning and assured debut. That boy is heading straight to stardom, isn't he?

 

I expected his dancing to be very good, and he superseded my expectations - by the time he delivered his entrechats I might have forgotten to breathe regularly.

 

What I really didn't expect was his finely tuned dramatic delivery - It felt like I could 'hear' his Albrecht think at times, his character was fully fleshed out as a carefree young man in love, realising what he has done and fervently wishing he could make amends. I might have dropped a tear.

 

He had a lovely chemistry with Elena Badenes, whose Giselle I enjoyed, particularly her lovely little 'skips' (dunno what they are actually called)

 

I don't think I need to say more about Lauretta Summerscales Myrtha other than see her if you can. Best wicked glint in town.

  • Like 6
Link to comment
Share on other sites

I too question the entrechats six tonight in Corrales' deeply committed debut as Albrecht.  It was as if you had a wall that had been oh, so astutely primed and then - of a sudden - someone sprayed a different shade in the centre that you weren't entirely sure matched the overall designer's remit.   Things will settle with time I'm sure ... They often do.  That said I do so admire this young man's courage in daring to try.  The stroke of THAT excitement is visceral.  

 

Elisa Badenes offered a Giselle of an entirely refreshing - and sharply detailed - hue.  Oft I found myself smiling back at her.  

 

Lauretta Summerscales again soared with supremacy as Myrtha - one richly deserving the enhancements that Adam via Skeaping supplied ... and Kanehara - as Moyna - here as elsewhere - only ever seemed to melt into the musical breath.

 

So much to enjoy.  

Edited by Bruce Wall
  • Like 4
Link to comment
Share on other sites

Those entrechats: of course there is the question of authenticity, if only to the intentions of this production. But if you do them as well as Corrales delivered last night, I found that they actually make some kind of narrative sense (ie not showing off but somehow expressive of the dance-till-you-die, what-am-I-going-to-do-I-love-her-but-shes-dead, they-all-want-to-kill-me crisis Albrecht is in at the end) Never felt that before, so perhaps this is an example of the power of dance. Imho.

Edited by Geoff
  • Like 7
Link to comment
Share on other sites

I personally don't have a problem with them and agree that Albrecht needs to do something that will totally exhaust him as sometimes there seems to be a lot of pleading but not a lot to exhaust on display!!

 

But when well done they are stunning and I don't think that out of place in this act myself.

  • Like 2
Link to comment
Share on other sites

I remember Johan Kobborg saying how frustrated he used to get in the RB Peter Wright version....he used to do the entrechats brilliantly, but was told to stop at a certain point.  He thought it made dramatic and musical sense to keep them going if you could (there is enough music for this), not for showing off but to make Albrecht's total exhaustion more believable.  Nureyev used to keep on going no matter what he was told and it worked!

  • Like 6
Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

×
×
  • Create New...