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

[Jamesrhblack]

Done, but please note that correction does not carry through to the quoted post.

Thanks

[alison]

(Also, I usually restrict myself to a very very tight budget when it comes to buying tickets, but I ended up in a great seat tonight and enjoyed everything much more than usual. I might start to become extravagant after this - it feels like a slippery slope!)

 

I've done that before, too.  Went to a performance of Eugene Onegin at the Coli some years ago and had, I think, a front Upper Circle ticket, probably courtesy of the half-price place in Leicester Square, and was blown away.  So much so that I decided to see it again and take a friend with me.  From our rear Upper Circle seats it seemed a lot less impressive

[Jamesrhblack]

The sight lines and acoustic at the back of both the Upper Circle and the Dress Circle at the Coliseum are awful because of the overhang. I can remember years ago "treating" myself to Dress Circle tickets to hear the ravishing Valerie Masterson sing Konstanze in Mozart's Seraglio and being towards the back. It was the aural equivalent of looking the wrong way through opera glasses and my companion and I retreated to the Balcony at the interval. Sure, it's further away and much less comfortable but the sound was fantastic.

[bridiem]

The sight lines and acoustic at the back of both the Upper Circle and the Dress Circle at the Coliseum are awful because of the overhang. I can remember years ago "treating" myself to Dress Circle tickets to hear the ravishing Valerie Masterson sing Konstanze in Mozart's Seraglio and being towards the back. It was the aural equivalent of looking the wrong way through opera glasses and my companion and I retreated to the Balcony at the interval. Sure, it's further away and much less comfortable but the sound was fantastic.

 

But in the balcony the rail intrudes badly for a rows anywhere near the front - you have to be really careful where you book. Anywhere further than half way forward and there can be trouble. I remember years ago splashing out (by my standards) and booking in the front row of the balcony, for the benefit of my elderly Mum; and being short, the rail was directly across her view of the stage. I was so upset. 

[Saodan]

I was at the Friday evening performance (Cojocaru, Hernandez, DePrince) and find myself in complete agreement with both Jamesrhblack and northstar. 

 

Cojocaru gave a wonderful dramatic performance but I felt she did not commit fully to some of the steps. Being unfamiliar with this production I wondered whether it was all part of the romantic style, but reading the comments here I am come to think there may be something else at play. 

 

Hernandez was the opposite of Cojocaru for me. He clearly has exceptional technique, but I didn’t get much characterisation. I was interested to read Bruce Wall’s comments and am inclined to be more sympathetic. Perhaps the performance was too subtle to reach my eyes in the Upper Circle. He did have his moments: I did get his discomfort when Giselle showed him the necklace, and I appreciated his reaction to Giselle's death, going round the onlookers grabbing their faces as she did and then blaming his squire. I also second jamerhblack’s observation that there was a noticeable drop in the tempo of the orchestra during Hernandez’s entrechats. It was both distinct and distracting. 

 

I have to admit to wondering if Michaela DePrince had been a little overhyped on account of her incredible life story and media coverage, but was happily proved wrong. She has an incredible jump and I will give her technique the benefit of the doubt even though it was a little dark to see. She has a bright future. 

 

I also found this version slightly less affecting than the Royal Ballet version. I’m not sure why, but I think, if pressed, I would say Skeaping’s production is perhaps more narratively focused throughout, but Wright’s version is more intense at the key moments.

 

Overall I found it a thoroughly enjoyable evening with much to like despite the few gripes. The orchestra where fantastic. The lighting added to the feel even if it did get a little dark at times. I enjoyed most of the choreographic and structural changes. The peasant pas de deux is far superior to the pas de six in my opinion. The Fugue in act 2 is great, as is Myrtha’s expanded role, and the gamekeepers (although I do think Hilarion should die of exhaustion rather than being thrown into the lake).

 

So close to being very special, but just very good for me. If anything this has reminded me how lucky we are to be able to split hairs over this extraordinary production. It is a privilege, as Bruce Wall said, to be able to see companies of this calibre.

[alison]

Well, unfortunately I ended up only seeing two casts for this production, so am probably not the best placed to pass judgement, but having seen both ex-RB Giselles I felt there was something missing in their performances, based on what I'd seen before at the RB.  Since that was such a consistent impression, though, I do wonder whether it's something in the Skeaping production which has that effect rather than the individual performances.

[Scheherezade]

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.

 

 

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.

I absolutely loved the Badenes/Corrales closing performance this afternoon. So did the two girls sitting behind me who had apparently seen every cast and excitedly remarked that this was the best of them all.

 

Coated, I so agree with your observations following their debut. Corrales - what a star! I can't recall coming out on such a high since the Vasiliev/Osipova Don Q when they were still with the Bolshoi but what really astounded me was the emotional depth that Corrales brought to the role. Aristocratic, ardent, yet from the very first this Albrecht showed a touching concern for Giselle, a concern which sharpened and intensified during her mad scene (this was an impulsive Albrecht, not a milksop afraid to face up to his actions or a cad playing with her affections) so that his anguish at her death was convincing, overwhelming and utterly harrowing.

 

And, yes, the chemistry with Elisa Badenes was there in spades and what a beautiful interpretation from her, too, moving from the girlish uncertainty of their first encounters through the flowering of first love and the distress of betrayed innocence to the selflessness and protectiveness that followed death. Sometimes Giselle's protectiveness is hard to fathom but Corrales painted Albrecht's feelings for her so vividly that in this case it made total sense.

 

So on to those entrechats, and I have to agree with Geoff. Not only were they thrillingly executed but they also made narrative sense. And, Bill Boyd, only the slightest interruption from clapping. I think everyone was too caught up in the moment.

 

Alison McWhinney delivered again as Myrthe although perhaps without the steely control that Laurretta Summerscales brought to the role, and Rina Kanehara continued to impress.

 

Finally, a big shout out to the consistently wonderful corps and orchestra. This company goes from strength to strength!

[RuthE]

But in the balcony the rail intrudes badly for a rows anywhere near the front - you have to be really careful where you book. Anywhere further than half way forward and there can be trouble. I remember years ago splashing out (by my standards) and booking in the front row of the balcony, for the benefit of my elderly Mum; and being short, the rail was directly across her view of the stage. I was so upset.

Row A has a perfect view (handrail goes above rather than through the sight line) unless you're really tall, in which case you don't want to sit in row A anyway because of the leg room.

 

It baffles me why row A is cheapest price band while C and possibly B as well - which very much do have a handrail going right across the sight line - are much more expensive. When I first started attending opera at the coliseum it was B and C that were priced most cheaply for this reason.

[alison]

B and C were lower priced last time I sat there for the Nutcracker, which was probably 3 years ago or so.

 

I sat in Row H the other night: from my view there, I'd guess that it's probably the first row from which there is no interference by the rail - at least in the centre blocks.

[Scheherezade]

I'm pretty sure that Row B is much cheaper. And B has by far the worst sight lines. Perhaps A is as cheap as it is because of the (very) limited leg room

[Bruce Wall]

I absolutely loved the Badenes/Corrales closing performance this afternoon. ....

 

So on to those entrechats, and I have to agree with Geoff. Not only were they thrillingly executed but they also made narrative sense. 

 

Corrales' was an AMAZING performance of Albrecht - especially from an artist so young.  Vis a vis the entrechats sixes ... These (i.e., those at the second performance - as opposed to the first) were precisely ON the music.  This time you could see him making his entrance a tad earlier to ensure that they would be.

 

Badenes/Corrales made it a remarkable afternoon.  One long to remember.   She was entirely gossamer throughout that afternoon's second act.  

Edited January 25, 2017 by Bruce Wall

[Naomi M]

FYI Here is a complete version of Mary Skeaping's Giselle from Paris Opera Ballet.

 

[Don Q Fan]

ENB Announced today via Twitter that they will tour this Giselle to Belfast in June - the website is up to date as well with dates. Belfast is dead easy/cheap to get to by air and I can highly recommend a visit to Belfast it is a lovely city.

[bangorballetboy]

ENB Announced today via Twitter that they will tour this Giselle to Belfast in June - the website is up to date as well with dates. Belfast is dead easy/cheap to get to by air and I can highly recommend a visit to Belfast it is a lovely city.

 

The press release (and some discussion) can be found here

[Jacqueline]

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

 

I know you said you'd let us know, but I am intrigued to hear whether you had any response yet?

[Sim]

Oh gosh sorry, I completely forgot! Yes I did receive a reply and will post it up tomorrow night (for tech reasons I won't bore you with, I can't do it until then).

[Sim]

Especially for Jacqueline.....here is the email I wrote to the FoH manager at the Coli:

 

Hello.  I attended Giselle last night and had paid full price for two tickets in the Dress Circle.  That is £90 and was a birthday treat for my daughter.

After the interval, for the first 15 – 20 minutes of Act 2,   many of us were disturbed by very loud noises emanating from outside the auditorium doors:  the clanking of glasses, an incredibly loud and squeaky trolley being pushed around, the thumping of another trolley, staff shouting to each other, doors opening and closing, and various other noises.  At one point, during a lovely and very quiet bit of the ballet, the trolley was being pushed back and forth, and much of the audience was turning around to see what it was, and the concentration and atmosphere of the piece was totally ruined.  The other noises were also always there in the background.

I perfectly understand that after an interval cleaning needs to be done, but may I suggest that your staff are trained:

Not to shout during a performance;
To check trolleys before they are used;
To try to reduce the sound of glasses clanking;
To generally be aware that there is no soundproofing between where they are and where the audience is.

On a public forum that I help to run, many other people have complained about these noises at the Coliseum, both last night and in general.  This is something that doesn’t have to happen and can be solved with relative ease.  I am a regular at the venue and have heard noise many times, but last night was the worst I have heard and was very distracting and very annoying.

I look forward to receiving your comments on the above.  If you are not the person who deals with this matter, please either let me know who is, or kindly forward this email to them.

 

And the reply received from the assistant manager a couple of days later:

 

I am very sorry to hear about your visitor experience at the London Coliseum. Since your complaint I have taken the following actions to ensure similar disturbances will not happen again in the future.

I have spoken to both Front of House and Bar Staff and explained all points you have raised. Everyone has been briefed about keeping the radios on low volume as soon as the curtain goes up as well as make certain that noise levels are kept to a minimum. I have made sure that Catering Management is aware of the problem. They have now confirmed that all staff has been briefed about noise levels,sound bleed and that trolley routes particularly in the Dress Circle have been changed using a different lift in the house.

May I say that I was very grateful having received such detailed feedback from you. It really made it easier for me to get to the heart of the problem and implement change.

I hope we can welcome you again very soon here at the Coliseum.

 

 

Nice email, but if there are any further problems please do email.  Contact me and I will give you the details.

[Jacqueline]

Many thanks for that Sim. The management appears to have read your complaint and responded to it thoughtfully and thoroughly, not least because your approach was concise in its detail, making it clear what you experienced that evening was unacceptable and something needed to be done to prevent a recurrence.

I think management at the ROH could learn from this example of how to respond to a perfectly reasonable customer complaint. As I have said, when I made a complaint, I received the most cursory of replies. As I recall, I mentioned it on here at the time as it was so peculiar. My message to them appeared on their website comments. Then it disappeared. I came on here to ask what you have to do to get a response. Then I noticed my complaint had reappeared on the ROH site, with the one line reply about passing it on to the relevant people. After that, nothing.

It was suggested on here that the reason for its reappearance might be due to my mentioning it on here. I wonder if Sim's mentioning of the public forum encouraged the Coli people to give a proper response to a customer complaint. I never received that courtesy and although I still attend performances, it is nowhere near as often as it used to be. I was irritated by this experience and it coloured my opinion of the ROH. Nothing to do with the dance, just the quality of customer service. As was also said here, if everything is fine and dandy, happy days. They don't seem to be able to deal with negative feedback, however politely it is expressed, so in my case at least, it appears they ignored it.

Edited February 3, 2017 by Jacqueline

[aileen]

A few years ago I complained about an usher at the Coliseum. I spoke to the FoH manager who was very sympathetic but asked me to put my complaint in writing, which I did. I received a very prompt written apology saying that the usher in question had been spoken to. I was also offered some kind of compensation. I can't remember what it was (possibly a reduction on a ticket) and I didn't take it up because that was not the purpose of my complaint. Actually, I think that my seat was upgraded for the performance after I complained and I felt that it was a bit greedy to take up the offer whatever it was. I haven't seen that FoH manager recently. Perhaps he's retired or moved on. So, the Coli, which I have complained about on this site, actually dealt with my complaint very well on that occasion.

[Sebastian]

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).

 

Cyril Beaumont, in his excellent and detailed book "The Ballet Called Giselle", has the history slightly differently. In chapter 2, footnote 1, he says the French text came first and was published in 1833.

 

So to try and clear things up I have gone back to probably the most authoritative source, the academic edition of Heine's complete works (sixteen volumes, published between 1975 and 1997). In vol 9, published in 1987, there is a full and scholarly discussion of the somewhat confusing history of the various versions. Not only, as I suggested in my original post, are the sources somewhat incomplete and unclear, but (see page 533) Heine wrote first in German but published first in French, only later issuing a revised German version.

 

So my original post was not complete although the dates seem to stand (it is not clear where Beaumont, writing somewhat earlier - 1944 - and without the benefit of the German scholarly apparatus, got his information, which seems not to be quite right). Hope this helps, if anyone is tracking down the history of the Wilis.

 

Incidentally Beaumont has a most interesting alternative source for learning a little more about Wilis, Meyer's Konversations-Lexikon (first produced in 1839 and going through many editions until finally being subsumed in the massive German encyclopaeida Brockhaus in 1984). Unlike Heine's essay, this source stresses their vampiric nature which, Beaumont says, "is a far more logical explanation of the Wilis than that of Heine".

 

The 1897 edition of Meyer is happily online, see the reference to Wilis here:

 

http://www.retrobibliothek.de/retrobib/seite.html?id=116128 (one needs to spin down to the entry for " Vampir")

[Quintus]

 

 

Unlike Heine's essay, this source stresses their vampiric nature which, Beaumont says, "is a far more logical explanation of the Wilis than that of Heine".

 

Given that Giselle's mother is well aware of the Wilis, it's just as well she decided not to take Beaumont's listed precautions of cutting Giselle's head off and staking her then!