Nina G. Posted June 10, 2017 Share Posted June 10, 2017 2 hours ago, capybara said: Hi John - sorry if what I said was confusing. Yasmine was, in my mind, initially dancing in both casts as, in addition to being in the first line-up, she appeared in both the General and last Saturday afternoon in place of Mayara Magri. Mayara took her rightful place in SV on the 8th June and is, no doubt, scheduled to appear tonight as well. Yasmine Naghdi was in the 1st cast only but at Stage door last week I heard that she'd danced five SV's in a row: two Thursday stage rehearsals (one in which she had to replace Magri) , the Friday General rehearsal (replacing Magri), followed straight after by the Opening Night, and again the following day in the afternoon performance (replacing Magri). Worse than running a marathon I guess!!! 1 Link to comment Share on other sites More sharing options...
LinMM Posted June 10, 2017 Share Posted June 10, 2017 I saw this triple on the 8th and what a fab evening at the ballet it turned out to be....though I was really up for it as I love all the music to these three ballets so on that score alone it was going to be enjoyable. Of the three that night it was the Dream which stole my heart. i had forgotten just what a delight this piece is especially when so beautifully danced by everyone in the cast. Hayward and Sambe were just terrific and so moving in that final pas de deux. But David Yudes who was Puck was wonderful too and you know something is going well when you can't wait for a dancer to appear again. I think he is the best Puck I've seen since Wayne Sleep who I loved in this role and such a great rapport with the audience. I loved the choreography for the fairies so light and quick real petit allegro which I wish I could see more of but the corps definitely creatures of the air on Thursday. The main characters ....Helena, Hermia, Demetrius and Lysander were all beautifully drawn and with perfect comic timing .....with a special mention for Itziar Mendizabal who played Helena. Because I hadn't looked at the cast sheet beforehand I didn't realise who it was playing Helena until very near the end as had been racking my brains thinking wow she is so good who is she and then it came to me.....of course!! I think Itziar is a very talented dancer as she has a very good classical style is brilliant at drama and now at comedy too!! Anyway was completely absorbed the whole time and didn't want it to end. When it did I thought right I could go home now fully satisfied I don't need to see anything else....except see it again .....but glad I went for an icecream and stayed for the others! I love Symphonic Variations. Just a lovely little piece of classical dancing. But I've loved it from before I even saw it from just looking at those photos mostly of Fonteyn in that William Chappell book. I would love to know Fonteyns secret of making those beautifully classical lines and shapes but at the same time maintaining a certain softness and lack of strain. On Thursday I thought Cuthbertson exuded these exact qualities in this particular piece so she was a joy to watch throughout but everyone danced their bit to near perfection. I couldn't single out any of the male dancers they were all good( lovely to see Sissens at last) but I thought Reece had a certain presence on stage on Thursday so was often drawn to him. All too short. I wanted to see that again too! Marguerite and Armand had Ferri and Bonelli in the main roles and very good they were too. It does have a strange feel about it with the husband lurking around almost eavesdropping on the pair as they conduct their affair. But what I felt coming from Ferri was precisely this tension.....her feeling of "duty" to her husband competing with her need for passion from the young Armand. So there was a restraint in her performance which I think reflected this. There were moments of wild abandon .....some of those swings were so fast they looked positively dangerous .....but then this was tempered with her feeling of not completely giving in. I did feel her pain and anguish but more of the dilemma she was in. Of course she is protecting Armand as well but you almost felt it was inevitable this affair could not last when she returned to her wealthy admirers. When Fonteyn did this role you somehow really felt for the passion she was abandoning sensed her enormous loss and sacrifice which then makes the ending that much more moving as when they meet for the last time you really wanted them to still have time to have something together and so her death was devastating( floods of tears from me then) With Ferri I did feel for her and the final bit was absolutely riveting in its drama .....Bonelli was fantastic too....but I was always just very slightly outside that true identification where you are right there on the stage with them. But still needed a few moments before I could clap. Still a wonderful performance .....Ferri is still amazing as a dancer ....I hope she returns in something next year. As others have said what a great way to end the season was very happy when I came out of the theatre ....didn't even mind the torrential rain had to brave to get to the bus stop.....a sure sign my soul has been well fed! 8 Link to comment Share on other sites More sharing options...
cavycapers Posted June 10, 2017 Share Posted June 10, 2017 (edited) I did spend some time during SV thinking that if I had done the costume design, I would have had the principal girl as was, with her skirt cut up at both sides and down into a point at the front, but would have had the girls either side in costumes that dipped down in front on the right side for the girl on the right and down to the left for the girl on the left to produce a lovely symettrical image, instead of them being identical. I know, i need to get out more! What is the fabulous material they use, by the way, that gives that lovely heavy swing to the skirts, does anybody know? Edited June 10, 2017 by cavycapers 2 Link to comment Share on other sites More sharing options...
Balletfanp Posted June 10, 2017 Share Posted June 10, 2017 I must say I think the costumes for Symphonic Variations are amongst the loveliest I have seen in a ballet. Incredibly flattering to both the men and women, and appear to suit all heights and builds. Unlike some costumes I have seen.... 13 Link to comment Share on other sites More sharing options...
alison Posted June 10, 2017 Share Posted June 10, 2017 Ah, Lin, Marguerite is a courtesan: she doesn't have a husband 4 Link to comment Share on other sites More sharing options...
Fiz Posted June 10, 2017 Share Posted June 10, 2017 The real Marguerite - Marie Duplessis - did have a husband who was with her when she died as was a previous lover. 3 Link to comment Share on other sites More sharing options...
LinMM Posted June 10, 2017 Share Posted June 10, 2017 Oh Alison what an idiot I am sometimes.....I assumed the character played by Gary Avis on Thursday was her husband!! Ive just got the cast list out and it says this is the father of Armand!! .......Still a bit strange him lurking around then but gives a different picture to the story! I was thinking of those imploring looks she gives him and runs after him but he doesn't respond....thought this was her way of asking forgiveness for the affair!! But she can't help herself anyway! (The duty bit I thought I was picking up) Now I can see .....but someone correct if wrong ....that it is Armands father then who has said she should tell Armand she is ill or she should give him up anyway. Fancy misunderstanding this!! I now wonder whether Armands father has feelings for Marguerite and lingers around thus!! Anyway Ferri definitely got the agonising confliction across. I think though that ultimately she did come across as a mature woman who could let her passion go if need be. Fonteyn seemed always that much more vulnerable in the role to me and her abandonment to joy on stage a real gift. 2 Link to comment Share on other sites More sharing options...
penelopesimpson Posted June 10, 2017 Share Posted June 10, 2017 (edited) einteresting. I thought they were incredibly ugly, reminded me of my school gym wear Edited June 10, 2017 by penelopesimpson Link to comment Share on other sites More sharing options...
LinMM Posted June 10, 2017 Share Posted June 10, 2017 ???? 1 Link to comment Share on other sites More sharing options...
penelopesimpson Posted June 10, 2017 Share Posted June 10, 2017 (edited) Well, guess that the Ashton Triple Bill separates the men from the boys or, in ballet parlance, the novice from the knowledgable. The Dream, a lovely work that enthralled me with its beauty but failed to move me emotionally. Symphonic Variations. Didn't remotely understand it. Forgettable music, hideous costumes,a bare over light set, and then, what? Josreph Sissens the standout performer, not least becaus he was twice the size. Of anybody else. Sorry, guys; I am sure this ballet is filled with wonderful stuff, but it passed me by. I nearly left so as to catch an earlier train, but.... And thank goodness I didn't because here wAs the emotional heart of the evening, Marguerite and Amand using dance to express emotions I can only dream of,. What a pairing, what a performance. Fantastic. I f nothing else, tonight made me realise I am still a ballet novel and that I have left a lot no way to go before I understand or appreciate Ashton Edited June 10, 2017 by penelopesimpson Link to comment Share on other sites More sharing options...
alison Posted June 10, 2017 Share Posted June 10, 2017 38 minutes ago, penelopesimpson said: The Dream, a lovely work that enthralled me with its beauty but failed to move me emotionally. Bit of a failure there, then Quote Josreph Sissens the standout performer, not least becaus he was twice the size. Of anybody else. Pardon? Link to comment Share on other sites More sharing options...
penelopesimpson Posted June 10, 2017 Share Posted June 10, 2017 (edited) 12 minutes ago, alison said: Bit of a failure there, then Pardon? My post implies that the 'failure' Is,mine, Alison, because don't get Ashton, try as I may. I appreciate that those in the know believe that narrative ballet is for beginners and that only people who understand the technique can understand Ashton. I am surrendering to that view and saying openly that most oh his work passes me by, try as I will. People rave about Fille whereas I see it as a pleasantly unchallenging interlude. SV bored me. I hated the set and thought the costumes were grim, however much others might enthuse about the angle of a hem. The only reason I mentioned Sissens was becaus I presumed that he was the tall dancer in the middle. Apologies get if I am wrong. Edited June 10, 2017 by penelopesimpson Link to comment Share on other sites More sharing options...
penelopesimpson Posted June 11, 2017 Share Posted June 11, 2017 17 minutes ago, alison said: Bit of a failure there, then Pardon? Oh dear! Laughing so hard on the train people are staring at me! Link to comment Share on other sites More sharing options...
Sim Posted June 11, 2017 Author Share Posted June 11, 2017 The tall dancer in the middle was Reece Clark. Sissens was the dark-skinned dancer and the third was Ben Ella. Wonderful all three. Being able to nail this piece with relatively little experience is mighty impressive. The same goes for Mayara Magri and Leticia Stock. 8 Link to comment Share on other sites More sharing options...
Sim Posted June 11, 2017 Author Share Posted June 11, 2017 LinMM, Armand's father asks her to leave him because he is disgracing the family by living with a courtesan, and is jeopardising his sister's chance of making a good marriage. He asks her not to tell Armand why she is leaving. That is why A is angry and hurt, and humiliates her: he thinks she decided to go back to her sugar daddy because money and jewels mean more to her than his love. The father witnesses her humiliation, feels guilty, tells A the truth and tells him to go and reconcile with M before it's too late, which he does. 8 Link to comment Share on other sites More sharing options...
Sim Posted June 11, 2017 Author Share Posted June 11, 2017 Another wonderful, passionate performance from Osipova and Shklyarov tonight. Wow! Such chemistry, and such luscious dancing from both. I would love for him to come back and dance with her some more. Sergei who??!! 9 Link to comment Share on other sites More sharing options...
penelopesimpson Posted June 11, 2017 Share Posted June 11, 2017 17 minutes ago, Sim said: Another wonderful, passionate performance from Osipova and Shklyarov tonight. Wow! Such chemistry, and such luscious dancing from both. I would love for him to come back and dance with her some more. Sergei who??!! Second that, Sim.. Bteathtaking, both individually and together. He is in a different league, totally wonderful. Is this the Shkyarov who will be dancing Bayadere with Yhe Marinsky? ps: thanks for the heads up on Reece Clarke. Also wonderful, just didn't appreciate the piece. 2 Link to comment Share on other sites More sharing options...
bridiem Posted June 11, 2017 Share Posted June 11, 2017 7 hours ago, penelopesimpson said: My post implies that the 'failure' Is,mine, Alison, because don't get Ashton, try as I may. I appreciate that those in the know believe that narrative ballet is for beginners and that only people who understand the technique can understand Ashton. I am surrendering to that view and saying openly that most oh his work passes me by, try as I will. People rave about Fille whereas I see it as a pleasantly unchallenging interlude. I'm not sure I understand this, penelopesimpson. It's not a 'failure' not to enjoy a piece, and it's not necessary to 'understand the technique' of Ashton or anyone else. All that matters is how you respond to what you see. I have no technical knowledge and I love Ashton. And The Dream and Fille are both narrative works, as is Marguerite and Armand. I saw Symphonic Variations as part of my first ever ballet performance, and loved it; I saw The Dream later that season, and was bored by it. (I came round to it eventually!). All I'm saying is that your reactions are as valid as anyone else's, and they may or may not change as you see more ballet. All part of the joy of the journey! 13 Link to comment Share on other sites More sharing options...
annamk Posted June 11, 2017 Share Posted June 11, 2017 6 hours ago, Sim said: Another wonderful, passionate performance from Osipova and Shklyarov tonight. Wow! Such chemistry, and such luscious dancing from both. I would love for him to come back and dance with her some more. Sergei who??!! Me too Sim they were both incredible. Unlike their first performance I was completely convinced by Osipova's interpretation, she was a devastating Marguerite. As for him, on the RoH stage Shklyarov, with his beautiful lines and Vaganova deportment, looks as though he comes from a different ballet planet. Add to the mix that he can act & partner & what a combination ! It would be fantastic if he could guest with Osipova next season, I haven't seen such a perfect partner for her. At least we haven't got long to wait to see him again - he's dancing in all the Mariinsky programmes. 3 Link to comment Share on other sites More sharing options...
Bluebird Posted June 11, 2017 Share Posted June 11, 2017 12 minutes ago, annamk said: Me too Sim they were both incredible. Unlike their first performance I was completely convinced by Osipova's interpretation, she was a devastating Marguerite. As for him, on the RoH stage Shklyarov, with his beautiful lines and Vaganova deportment, looks as though he comes from a different ballet planet. Add to the mix that he can act & partner & what a combination ! It would be fantastic if he could guest with Osipova next season, I haven't seen such a perfect partner for her. At least we haven't got long to wait to see him again - he's dancing in all the Mariinsky programmes. Not all the Mariinsky programmes. He's been replaced by Xander Parish in Anna Karenina: http://www.roh.org.uk/productions/anna-karenina-by-alexei-ratmansky Link to comment Share on other sites More sharing options...
Bruce Wall Posted June 11, 2017 Share Posted June 11, 2017 (edited) Given that I no longer have time to write an in depth review of anything - (in many ways now my life - as I knew it previously - or at least recently - is no longer my own - for all the very best reasons) - I just want to jot a few impressions. I have seen every single step of this triple bill and thoroughly enjoyed all throughout. Standouts in The Dream - a piece almost (but not quite) as sunny as that miracle of the choreographic world 'La Fille' - were (i) the delight that is the launch of Hayward's audaciously flippant Titania - qupping in her dance with the same delicious whimsy as Ashton used to pen the vigor of his dance; (ii) the launch of oh, so talented David Yudes' Puck - glorious in the jocularity of his ripe (but never overly so) drollery replete with that ever bursting Tessie O'Shea grin. Perhaps strangely (iii) what coloured this outing most of all for me was the Alisatir Sim like consistency of Matthew Ball's comic aucity, one so rare anywhere let alone in one so very young. His gift served as a glue that enraptured .... most especially when manacled in the elongated extremities of Mendizabal's inspired Miss Gossage (a la Joyce Grenfell) of a Helena. Together they plumped the pillows of our delectation; well, mine at any rate. Is there any MORE perfect ballet than those 20 heavenly minutes that ARE Symphonic Variations? If there is then I fear I don't know it. Age certainly does not wither her. No. She soars ever higher into the stratosphere of ecstasy. The wonder that is Muntagirov in heady Nunez tow skimmed the very soul of rapture as wrought through the tremor of black banded adversity. Naghdi was musicality personified - as indeed were Hay and Sissens, yet another giant now stalking amongst the younger RB ranks. These performances were - as their Master intended - a celebration - and I believe this masterwork should be danced at least once in EVERY RB season in order to serve as (i) a masterclass in British ballet to be referenced by other contributing choreographers and (ii) as a mascot for the glory of English dance. I do not feel that M&A falls in the same league as the other two above, but then neither did Ashton. He provided the bones and makes extraordinary demands in terms of the flesh. Occasionally I thought I heard him rattling below with that eternal fag literally sewn into lips voraciously bouncing. 'Please, please; spare me.' he mumbled zealously, 'Stop it. Stop it NOW'. Then he seem to quiet. Well, Osipova and Shklyarov had it seemed mesmerised the soul of man; time as it had been before now seemed to stop and we breathed for the next 35 minutes in the detail of the perfume of their hearts' bouquet. Ferri, of course, had a definite advantage of having the ever extraordinary Avis as her pere ... but there was no mistaking last night ... the former pairing were definitively tops. They WERE the Coliseum .... and its decline and pulsating fall rumbles even now in my mind's ear ... as does the extraordinary music making throughout the delight of this life enriching triple bill such as was overseen by that magician, Emmanuel Plasson. (Please, sir ... I want MORE!!) Edited June 11, 2017 by Bruce Wall 12 Link to comment Share on other sites More sharing options...
annamk Posted June 11, 2017 Share Posted June 11, 2017 34 minutes ago, Bluebird said: Not all the Mariinsky programmes. He's been replaced by Xander Parish in Anna Karenina: http://www.roh.org.uk/productions/anna-karenina-by-alexei-ratmansky Ah thanks Bluebird I hadn't picked up on that cast change. Anna K is not a favourite so I can give it a miss now. Link to comment Share on other sites More sharing options...
penelopesimpson Posted June 11, 2017 Share Posted June 11, 2017 1 hour ago, annamk said: Me too Sim they were both incredible. Unlike their first performance I was completely convinced by Osipova's interpretation, she was a devastating Marguerite. As for him, on the RoH stage Shklyarov, with his beautiful lines and Vaganova deportment, looks as though he comes from a different ballet planet. Add to the mix that he can act & partner & what a combination ! It would be fantastic if he could guest with Osipova next season, I haven't seen such a perfect partner for her. At least we haven't got long to wait to see him again - he's dancing in all the Mariinsky programmes. That was exactly my reaction to Shklyarov - he just seemed completely different in the most heavenly way. He and Osipova were absolutely stunning together and I was moved to tears. So glad I saw it, even though I have wonderful memories of Rojo and Polunin. Link to comment Share on other sites More sharing options...
penelopesimpson Posted June 11, 2017 Share Posted June 11, 2017 1 hour ago, bridiem said: I'm not sure I understand this, penelopesimpson. It's not a 'failure' not to enjoy a piece, and it's not necessary to 'understand the technique' of Ashton or anyone else. All that matters is how you respond to what you see. I have no technical knowledge and I love Ashton. And The Dream and Fille are both narrative works, as is Marguerite and Armand. I saw Symphonic Variations as part of my first ever ballet performance, and loved it; I saw The Dream later that season, and was bored by it. (I came round to it eventually!). All I'm saying is that your reactions are as valid as anyone else's, and they may or may not change as you see more ballet. All part of the joy of the journey! I suppose one feels that one is supposed to be in raptures about Ashton because his choreography is often so lusciously demanding. I keep hoping that when I come to understand it more, my reaction will improve. I certainly enjoyed Dream and would see it again but I find Fille terribly twee. SV genuninely puzzles me. What is that people are seeing that I don't get? I saw brilliant dancing that didn't speak to me, and I was terribly put off by the stark bright lighting and the truly hideous gym tunics. I used to assume that I adore ballet as a medium to convey emotion rather than an end in itself, but as a fan of modern works, this can't be the case. It is something about Ashton that I'm not tuning in to. Link to comment Share on other sites More sharing options...
Jan McNulty Posted June 11, 2017 Share Posted June 11, 2017 Penelope, you are not the only one who doesn't "get" Ashton. I know at least one other Forum member who doesn't get him at all. I started off watching contemporary dance with its many plotless, abstract works so plotless and abstract are my comfort zone. It took me quite a while to really get into story ballets. 1 Link to comment Share on other sites More sharing options...
Fonty Posted June 11, 2017 Share Posted June 11, 2017 (edited) 31 minutes ago, penelopesimpson said: I suppose one feels that one is supposed to be in raptures about Ashton because his choreography is often so lusciously demanding. I keep hoping that when I come to understand it more, my reaction will improve. I certainly enjoyed Dream and would see it again but I find Fille terribly twee. SV genuninely puzzles me. What is that people are seeing that I don't get? I saw brilliant dancing that didn't speak to me, and I was terribly put off by the stark bright lighting and the truly hideous gym tunics. I used to assume that I adore ballet as a medium to convey emotion rather than an end in itself, but as a fan of modern works, this can't be the case. It is something about Ashton that I'm not tuning in to. Funny, isn't it, how we all think differently? What you see as stark, bright lighting I see as the lighting which is the perfect level to allow us to see the entire stage properly from all parts of the auditorium. Such a refreshing change from all the supposedly "dramatic" lighting, which means half the time you can't see the dancers properly. And what you see as hideous gym tunics, I see as simple costumes that enhance the flow of the choreography without anything to distract the eye, and which flatter all the wearers. A wonderful alternative to the trend for making men prance about naked apart from their pants, and the truly hideous pale leotard and no tights look for the women. The latter are particularly hard to wear for just about every physique, and are surely only see as an attractive look by those studying anatomy. I generally prefer dramatic ballets, but there is something about SV that touches me every time I see it. Edited June 11, 2017 by Fonty 15 Link to comment Share on other sites More sharing options...
nickwellings Posted June 11, 2017 Share Posted June 11, 2017 1 hour ago, Bruce Wall said: Given that I no longer have time to write an in depth review of anything - (in many ways now my life - as I knew it previously - or at least recently - is no longer my own - for all the very best reasons) - I just want to jot a few impressions. I have seen every single step of this triple bill and thoroughly enjoyed all throughout. May I just say, it was a pleasure to sit next to you on Thursday in row U. Forgive my enthusiasm, and at times excited interruptions: it is rare that I get the chance to 'talk Ballet'. I echo the same pleasure and gratitude as above, individual and company all united in giving us a wonderful few evenings of balletic joy. 3 Link to comment Share on other sites More sharing options...
MAB Posted June 11, 2017 Share Posted June 11, 2017 30 minutes ago, penelopesimpson said: .......and I was terribly put off by the stark bright lighting So was I. The lighting has changed, it used to be far more subtle and I was irritated by the garish look the piece now has. Link to comment Share on other sites More sharing options...
Fonty Posted June 11, 2017 Share Posted June 11, 2017 2 minutes ago, MAB said: So was I. The lighting has changed, it used to be far more subtle and I was irritated by the garish look the piece now has. I didn't see it live this time, only at the cinema. That would be a great pity if they have changed it. Link to comment Share on other sites More sharing options...
Ian Macmillan Posted June 11, 2017 Share Posted June 11, 2017 I see from today's Links that Luke Jennings has strong views on the Ashton costumes in general: https://www.theguardian.com/stage/2017/jun/11/frederick-ashton-royal-ballet-triple-bill-observer-review?CMP=share_btn_tw 1 Link to comment Share on other sites More sharing options...
Vanartus Posted June 11, 2017 Share Posted June 11, 2017 (edited) Really interested by Luke Jenning' piece. Personally I adore all elements of SV - it's a Gesamtkunstwerk wow! But I get what he says...I'd quite like to see it done "naked" - white set, no set, white or flesh leotard just to see what difference there is. I remember back in the 80's talking to Alastair Macaulay and he couldn't stand a"po-faced" over reverential approach to the staging of the work, which should seem fresh not like a mausoleum. He had a point. I enjoy the original setting because I can sense the link to the 40's, I like the almost religious feel to the piece but...I would be up for a radical strip back. (Warning - it has to be done well, Rhapsody reverted to a good reinvention of the original!) M&A is fine in my book - now wigless there ain't much less to strip back...it is what it is! However much as I love the now brilliantly lit set and costumes in The Dream, this ain't a holy work and I would like a completely new approach to this. Ironically Opera is far more radical and less precious re keeping original designs ...perhaps we need to be too...or have parallel designs... Edited June 11, 2017 by Vanartus Typo 1 Link to comment Share on other sites More sharing options...
MAB Posted June 11, 2017 Share Posted June 11, 2017 Changes to the costumes of Les Rendezvous didn't work out well at all, did they? No one would dream of changing the costumes of a Diaghilev Ballet, but vandalizing Ashton's work is fair game. Jennings seems unaware that the sets and costumes of Sylvia are a tribute to the second empire and that the costumes (and wigs) of M&A are authentic to the time the ballet is set in. You don't need a 'classical education' to fear dumbing down in the art of ballet, nor to recognize philistines at the gates. 7 Link to comment Share on other sites More sharing options...
Fonty Posted June 11, 2017 Share Posted June 11, 2017 (edited) Couldn't disagree with Luke Jennings more. I don't find anything remotely camp about the costumes for either SV or the Dream. As I said above, I absolutely loathe the trend for displaying too much flesh. And what sort of costume would you expect a fairy King to wear? I am struggling to think of any modern concept for such an outfit! The only thing I would change is the long blonde wig that poor Titania is forced to wear. Fine if you happen to be fair to start with, for someone of Takada's colouring it was deeply unflattering, I thought. By all means give the Fairy Queen a tumble of lustrous locks, but in a colour somewhere nearer the dancer's natural colouring, please. Edited to add, I have just had a horrible thought. They don't make the dancers share wigs, do they? Please tell me each lady has her own, and the fact that they all have to wear the same colour has nothing to do with economy. Edited June 11, 2017 by Fonty 17 Link to comment Share on other sites More sharing options...
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