Jump to content

Recommended Posts

There would seem to be a number of reasons for the choice of first cast in Mayerling in LA:

- (with the exception of Hirano) the line-up was the first pick to open the RB season last autumn;

- that cast is packed with Principals;

- Osipova (Mary Vetsera in that cast) is a BIG NAME in the US (and everywhere), so good for publicity; and

- Kevin O’Hare seems to read Hirano as a more impressive dance actor than many of us on here do. 

Were it not a ballet where fiendish pas de deux necessitate keeping the female characters with ‘their’ Rudolf, it would have been a nice farewell gesture to open with Soares (although Ball’s searing performances in London made the strongest claim to that spotlight).

  • Like 2
Link to post
Share on other sites
  • Replies 172
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

17 hours ago, Sim said:

It’s worth looking at the comments on Ballet Alert, our American cousin.  When I looked earlier today the comments were generally positive.  

Thanks Sim,  for directing our attention to Ballet Alert. I really enjoyed reading some positive reviews of the performances of Mayerling. 

  • Like 1
Link to post
Share on other sites

Going slightly off topic here but looked at the first page of the Royal Ballet 2019/20 season on Ballet Alert and was truly heartened to see how many Americans commented about how disappointed they were with the lack of Ashton. One even said Kevin O'hare had done a splendid job nurturing wonderful dancers but didn't give them wonderful rep. to dance. Others said Ashton should be the core of the RB rep. and doing just one piece on the main stage was not sufficient for dancers to really get into the Ashton style. Also by staging Ashton at the Linbury it gives the impression Ashton isn't really important to the Company or capable of attracting a wide audience. Another encapsulated my thought by saying she hoped there would be more Ashton for this season as an additional Fonteyn tribute.

  • Like 9
Link to post
Share on other sites
8 hours ago, jmhopton said:

Going slightly off topic here but looked at the first page of the Royal Ballet 2019/20 season on Ballet Alert and was truly heartened to see how many Americans commented about how disappointed they were with the lack of Ashton. One even said Kevin O'hare had done a splendid job nurturing wonderful dancers but didn't give them wonderful rep. to dance. Others said Ashton should be the core of the RB rep. and doing just one piece on the main stage was not sufficient for dancers to really get into the Ashton style. Also by staging Ashton at the Linbury it gives the impression Ashton isn't really important to the Company or capable of attracting a wide audience. Another encapsulated my thought by saying she hoped there would be more Ashton for this season as an additional Fonteyn tribute.

 

I have a feeling that some of the people who post on balletalert are, in fact, based in the UK and are known to members of balletcoforum by other aliases 😉

  • Like 6
Link to post
Share on other sites
On ‎09‎/‎07‎/‎2019 at 00:08, Coated said:

Mayerling is definitely an acquired taste, it took me a couple of viewings and Pennefather/Hamilton both cranked up to 11 to get why people watch it voluntarily.

 

It took me about a decade to acquire it :) 

  • Like 1
Link to post
Share on other sites
2 hours ago, Odyssey said:

Is there any news about the last two performances in Los Angeles, and in particular, Inferno, the first part of the new McGregor?Surprisingly, nothing on Ballet Alert either.

 

There is, currently, a brief review on Ballet Alert:

https://balletalert.invisionzone.com/topic/28334-wayne-mcgregor/page/2/?tab=comments#comment-417165

 

Edited by Bluebird
  • Like 1
Link to post
Share on other sites
2 hours ago, Odyssey said:

Is there any news about the last two performances in Los Angeles, and in particular, Inferno, the first part of the new McGregor?Surprisingly, nothing on Ballet Alert either.

 

A few of my brief thoughts here.

https://balletalert.invisionzone.com/topic/28334-wayne-mcgregor/page/2/?tab=comments#comment-417165

 

Added: Bluebird's post appeared just as I posted mine.

Edited by Buddy
  • Like 2
Link to post
Share on other sites
4 minutes ago, Bluebird said:

Thanks, Buddy.  We were posting at the same time and I referred to your review.  Maybe a moderator could remove my post as it's now redundant.

 

Thanks, Bluebird. If there's anything in particular that you'd like to ask me, I'll do my best to respond.

Link to post
Share on other sites

One more summary thought is that for me there is a statement of feeling and reality in Wayne McGregor's works that I find compelling, perhaps in contrast to his 'intellectual forays' into science, cybernetics, etc.

Edited by Buddy
Link to post
Share on other sites

I posted this at Ballet Alert, but would like to do the same here.

 

Somewhat propelled by a series of intelligent and interesting reviews of Wayne McGregor’s works in LA last weekend I’d like to add a few more thoughts about the Mariinsky approach. (The reviews can be found at Balletco.’s Dance reviews)

 

We just had a discussion on the extreme physical demands on the women of the McGregor style. First, I would want to recall comments by Wayne McGregor that when he was invited by the Mariinsky to add and coach his Infra he wanted the dancers to interpret it as they chose. I saw a performance of it and felt that it was exciting but also an excellent case for pilates and physical therapy. Having viewed some videos and seen these most recent works I’m still inclined to temper this opinion. Once again I feel that it was the Mariinsky dancers’ own surprising(!) choice to push this work to its breakneck limits. Yes, Wayne McGregor does go to physical extremes, but not this extreme from my limited viewing.

 

In any case one very interesting thing does emerge. The works that I saw last weekend did seem very male oriented. The sexes were blended together with a distinct emphasis on the male, especially in prominence, imagery and physicality. In the recent Mariinsky performance of Infra, Oxana Skorik turns the final duet into something very feminine, sensitive, poetic and appealing. It’s her take. It seems to faithfully conserve Wayne McGregor’s structure and intelligence, yet offer a significant and legitimate alternative. I like it very much.

  • Like 3
Link to post
Share on other sites

Could I please add one more thought to my previous post ?

 

In fairness because of the drift of my comments, I would like to say that in normal, classical-style ballet the men often perform feats that seem highly demanding, if not imposilble, as if it's assumed that they are men and can do anything greatly physical.

Edited by Buddy
Link to post
Share on other sites
  • 2 months later...

Thank you, again, for the reviews you continue to produce. They are essential reading for me. I hope your ankle improves.

I love Piano Concerto 2 - it's one of my favourite ballets of all time and I really enjoyed the performances I saw recently, but the costumes!! I've never known a ballet (whether performed as Ballet Imperial or as Piano Conc 2, to be so badly served by so many apalling looking productions. Increasingly I think the only good looking production designs I've seen were the original Berman designs which I saw two or three times too many years ago to think about. 

The women at City Ballet looked pretty good (as a generalisation) but the men still concern me somewhat. Only Gordon and Mejia seem to have stand-out talent. It might be my bad luck in what I've seen recently, but the "senior" men are looking no better than "carefully correct" and hence lack some excitement. Possibly Taylor Stanley may be an exception.

  • Like 2
Link to post
Share on other sites
1 hour ago, Douglas Allen said:

Thank you, again, for the reviews you continue to produce. They are essential reading for me. I hope your ankle improves.

I love Piano Concerto 2 - it's one of my favourite ballets of all time and I really enjoyed the performances I saw recently, but the costumes!! I've never known a ballet (whether performed as Ballet Imperial or as Piano Conc 2, to be so badly served by so many apalling looking productions. Increasingly I think the only good looking production designs I've seen were the original Berman designs which I saw two or three times too many years ago to think about. 

The women at City Ballet looked pretty good (as a generalisation) but the men still concern me somewhat. Only Gordon and Mejia seem to have stand-out talent. It might be my bad luck in what I've seen recently, but the "senior" men are looking no better than "carefully correct" and hence lack some excitement. Possibly Taylor Stanley may be an exception.

 

Adrian Danchig-Waring looks pretty good to me. He rdoes get injured a lot though. Agree about some of the senior men. And thanks for the well wishes about the ankle.

Link to post
Share on other sites
  • 4 months later...

Thanks so for your fine review, Ivy Lynn.  I was in New York for work and caught two performances of the Episodes programme - plus both Episodes and Peck's stunning Rodeo in their complete run through at the Thursday afternoon rehearsal.  (I could easily have watched the Peck three more times - such a brilliant Company celebration.  Totally invigorating.)  Agree entirely about the Haieff Divertimento - such a special piece.  I hadn't seen it since the early 90's.  Ball and Phelan were magnificent together.  Think Furlan is a very special catch - not to mention Mejia.  Agree heartily too about Kretzschmar.  So exciting to see these relatively new jewels in the proverbial NYCB crown make it glitter afresh.   .... Oh, and Stanley in Opus 19: The Dreamer was, once again, potent .. and has grown into such a fine partner.  

 

Edited by Bruce Wall
  • Like 1
Link to post
Share on other sites

Also just wanted to mention Victor Abreu in Peck's entrancing Belles-Lettres (which I had not seen before).  This young lad - only newly made a corps member after having been an apprentice - reminded me in many ways of the extraordinary joy of the RB's Joe Sissens - and is already a sublime partner.  He deserves to go far.  For a peek see flash footage here:

 

Here is Huxley talking about Belles-Lettres .... He has added size to this technical stealth.  He was riveting in this much as he was thrilling in Rodeo.  
 

Also must mention Sara Mearns who was totally ON (and she can sometimes be off) in the final (fourth) movement of Balanchine's Brahms-Schoenberg Quartet ... one of my all time favourite ballets ... certainly one of my desert island picks ... For moments she burnished my memories of Farrell who was in this when I first saw and fell in love with it ... 
 

 

Edited by Bruce Wall
  • Like 2
Link to post
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...