ENB SONG OF THE EARTH/LA SYLPHIDE 2017/18

[capybara]

 

There is so much ballet on at the moment that it is difficult to find time to post on here 

 

Having now seen this double bill four times, I really feel that the combination of Song of the Earth and La Sylphide works very well. My only reservation is that the wonderfully modern look and feel to Song tends to make La Sylphide seem somewhat dated, especially in its appearance. But perhaps that is also good in a way as it illustrates how diverse ballet can be.

 

The three central roles in Song are ones "to die for", especially that of The Messenger of Death. Ken Saruhashi, Aaron Robison and Jeffrey Cirio offer varying interpretations but each dancer makes his mark. I found Ken Saruhashi a particularly impressive presence within a cohesive team. Of the women, Erina Takahashi (new to the role) is the one who most nails it for me (lucky ROH audience on the 24th October!), slightly edging it from Tamara Rojo (who has been dancing the role at least 14 years IIRC), and Fernanda Oliviera (another debutante). Jurgita Dronina, at my one viewing of her, hadn't quite captured the essence of the role or fully mastered the movement. Perhaps I still have the image of Jonathan Cope in my mind but, in the ENB casts, The Man has has felt less significant, whoever is playing him. This may simply be down to the structure of the ballet but it will be interesting to see whether the role registers more as the dancers (Joseph Caley; Skyler Martin; Aitor Arietta and Isaac Hernandez) get more performances under their belts. The supporting ensemble in Song plays strongly and there are some delightful cameos, notably from Senri Kou and Adela Ramirez in the 3rd Song and Tiffany Hedman and Connie Vowles in the 4th Song. The singing and the orchestral playing really make Mahler  and the dancing live.

 

La Sylphide does not, I have to say, sit anywhere in my list of favourite ballets and the version mounted by ENB feels very much a period piece for connoisseurs. That said, the company dances it well with fine performances from all the leading dancers. Rina Kanehara as The Sylph was magically featherlight and her characterisation was beautifully judged. [See more about her from Bluebird above.] In addition to 4 Sylphs and 4 Jameses, I was fortunate to catch some interesting Gurns and Effies, including Giorgio Garrett, Henry Dowden, Anjuli Hudson, Adriana Lizardi, Francisca Velicu and Connie Vowles - the latter also impressive as a Lead Sylph, as was Jia Zhang. So nice to see these young dancers having an opportunity to shine. All the Jameses I saw were excellent. And, to top it all, straight from another triumphant appearance as Myrtha in Khan's Giselle, there was Stina Quagebeur being not acting Madge.

 

In many ways, it seems a pity that this double bill is only touring to two venues this year (others have the Khan, R&J or Nutcracker) but surely Liverpool, Bristol and Southampton will have the opportunity to see it in the future. I hope so and I hope, too, that good news will spread and tickets sales for these performances will improve.

 

 

 

[alison]

58 minutes ago, capybara said:

 

There is so much ballet on at the moment that it is difficult to find time to post on here 

 

It's much appreciated that you have, capybara!  I believe the company's London season coincides with the Royal Ballet's post-Christmas break, doesn't it, so perhaps things will be a little easier then.

 

Drat, where has that quote button disappeared to this time?  Oh well ...

" Perhaps I still have the image of Jonathan Cope in my mind but, in the ENB casts, The Man has has felt less significant, whoever is playing him."

 

I've tended to feel that in recent revivals of the RB production, too.  I'm not sure whether that's always been the way since I've been watching it, or whether it's a relatively new thing - I'd have thought the latter.

 

Connie Vowles' name has been coming up a lot: I can't remember where I've seen it before.  Was she in another company, or is she straight out of school?

[Bluebird]

4 minutes ago, alison said:

Connie Vowles' name has been coming up a lot: I can't remember where I've seen it before.  Was she in another company, or is she straight out of school?

 

She graduated from the RBS in 2016 and is in her second year at ENB

[alison]

Thanks, Bluebird.  Perhaps I picked up on it when she was at the RBS, then.

[Timmie]

2 hours ago, Bluebird said:

Many thanks for that important information, Timmie.  I've sent you a PM.

 

PMs exchanged and you are welcome. Re your PM comment, I am really looking forward to seeing Shiori Kase tonight, it'll be the first time I've seen her in a lead role - and it seems like one that will really suit her style.

[capybara]

1 hour ago, alison said:

Connie Vowles' name has been coming up a lot: I can't remember where I've seen it before.  Was she in another company, or is she straight out of school?

 

Connie also impressed in the last Young British Dancer of the Year Competition although, that year, all the awards went to male competitors.

 

She is also featured in some casts as the lead girl in the 4th Song.

[Don Q Fan]

The grand tier was shut at Manchester both matinee and Saturday night, dress circle was about 2/3 full both shows.

[pianolady]

Just got back from seeing this at Milton Keynes. Shame to see half the circle empty (and top circle was completely closed) but good sales on stalls. Loved the performances- but I think both ballets can evoke very different responses. Husband loved Song of the Earth, enjoyed La Sylphide but didn't fall in love with it, I absolutely loved La Sylphide but with Song of the Earth I felt I ought to be moved by it but somehow wasn't. No reflection on the outstanding performances of the dancers and also the singers - it could be the music as I'm not a massive Mahler fan althoughthe combination of ballet and singing works so well. On the other hand I adored the period piece feel to La Sylphide.

Edited October 21, 2017 by pianolady

[alison]

Song of the Earth is very austere: it won't be everyone's cup of tea, and for some it may take repeated viewings to make them change their mind.

[pianolady]

38 minutes ago, alison said:

Song of the Earth is very austere: it won't be everyone's cup of tea, and for some it may take repeated viewings to make them change their mind.

Yes, I did think it's one I'd see again and see if I felt differently. It just didn't gel musically for me tonight- could be my mood- Mahler at the end of a long day of teaching piano lessons possibly not the best thing...

Edited October 22, 2017 by pianolady

[Timmie]

Funny old thing is Song of the Earth. Thursday’s matinee I enjoyed in a worthy sort of way, in the way I enjoy muesli for breakfast. Last night’s (Saturday) was like crunchy nut cornflakes – I was enthralled, entranced and absorbed all the way through. The men were more synchronised and Erina Takahashi as the Woman was perfect, seeming so at one with the music and especially the Contralto voice. I am afraid I don’t recognise ENB dancers, so I hope I am correct in saying Senri Kou was the lead in the Third Song as she was very easy to watch as her enjoyment of the dance was so evident. Loved it.

Cast list says the singers were Rhonda Browne and Samuel Sakker, same as Thursday, but my wife thought the Tenor may have changed, not sure.

Edited to add: the muesli analogy isn’t meant to be mean, I do like muesli, but crunchy nut is a guilty pleasure .

Edited October 22, 2017 by Timmie

[capybara]

10 hours ago, alison said:

Song of the Earth is very austere: it won't be everyone's cup of tea, and for some it may take repeated viewings to make them change their mind.

 

The key to getting into 'Song' is, in my view, really getting to know the music. I've had it playing for weeks now because I knew that I have previously found it difficult.

[capybara]

1 hour ago, Timmie said:

 I am afraid I don’t recognise ENB dancers, so I hope I am correct in saying Senri Kou was the lead in the Third Song as she was very easy to watch as her enjoyment of the dance was so evident. Loved it.

Cast list says the singers were Rhonda Browne and Samuel Sakker, same as Thursday, but my wife thought the Tenor may have changed, not sure.

 

Yes, Senri Kou is most often the lead dancer in the 3rd Song.

 

The listings for the singers has not always been accurate. 

 

[Timmie]

In Saturday’s La Sylphide Shiori Kase was rather good as the Sylph. I thought her Act 1 mime and characterisation was a little subdued and not as convincing when compared to Rina Kanehara. In Act 2 she was spot on and her ballet finesse (especially head and arms) gave her a slight edge over what I would consider exceptional performances from both Kanehara and Kase (I am very far from an expert ballet assessor but I know what I like!). Francesca Velicu was Effy at both the shows I saw and really suited the role.

Stina Quagebeur was seriously scary as Madge and I would love to know the back-story to La Sylphide, why is Madge so mean? Why does she want James and the Sylph dead ?

La Sylphide is now definitely one of my favourite ballets and putting it in a double bill with something challenging is a great way to develop the tastes of the ballet audience. My wife, with a very passing interest in ballet, was not impressed with the length of Song of the Earth the first time around but had no complaints the second time and said she enjoyed it. The only reason she went at all (especially twice) was because of the sheer joyousness (apart from the ending!!) of La Sylphide.

I rarely see ENB but when I do I have not been disappointed, I do hope they keep coming to MK.

[li tai po]

I saw and heard the two Saturday performances of Song of the Earth in Milton Keynes and I am sure you would expect Li Tai Po to comment.

 

For me the strength of these performances was on the musical side.  Two superb singers and an orchestra which had clearly rehearsed very thoroughly for this work, that involves so many solo instrumental passages.  The matinee performance was conducted by guest conductor, Misato Tomita, and the evening by Gavin Sutherland.  Time and again I was ravished by the beauty of an individual instrument – a phrase from the clarinet, the oboe or the bassoon.  The runs on the harp and the shimmering clusters from the celeste at the end of the ballet were exquisite., but I could barely hear the mandolin, because it was positioned immediately below the stalls, where the sound did not reach the audience directly.  The mandolin repeatedly strums two notes, echoing the final word “ewig - everlasting”.  It is essential that it is heard clearly.  Maybe Gavin can position the mandolin at the back of the pit, so it sounds out clearly into the auditorium.

 

The singers were tenor, Samuel Sakker and contralto, Rhonda Browne.  They took great care with their vocal colours.  The tenor tells us that a full glass of wine is worth more than all the empires of the world.  Three times Sakker sang “worth more”, softly and reflectively the first time, thoughtfully and insidiously the second time, insistent and stentorian the third time.  He sang about the ape howling shrill into the sweet scent of life.  The word “life” disintegrated into a descending melisma of notes; the effect was terrifying.  Rhonda Browne sang the second song about solitude with rich and deep autumnal colours.  She brightened her voice noticeably for the opening of the fourth song, with the young girls picking flowers.  Her eyes twinkled as she described the fairest of the maidens looking after the horseman with longing.

 

I would recommend any Mahlerian to go and hear this electrifying performance at the Coliseum.  Great credit to Gavin Sutherland and the orchestra for caring so much about this masterpiece and delivering such quality.

 

The dancing was not on the same level.  As other correspondents above have commented, the men do not seem to understand what this ballet is about.  Three times the tenor sings the refrain, “Dark is Life, Dark is Death” - the men onstage were apparently unaware.  The Messenger of Death must create an immediate and startling presence with every appearance, something achieved by the likes of Dowell, Nureyev and Watson.  Likewise the Man must have a strength, empathy and melancholy – he must be a reliable anchor for the Woman, causing her insecurity, as she realises she is losing him – MacLeary, Wall and Cope come to mind.

 

An honourable exception is James Forbat, who appeared in five songs in the afternoon, taking the role most recently associated with Ricardo Cervera.  He had an angularity of line and a focus of concentration, which suggested that he was at ease with the MacMillan style and the content of the songs.  Serious, thoughtful and energetic in the first song (always precise with this timing), full of humour in the drunken capering of the fifth song, he brought testosterone to his entry as the rumbustious horseman in the fourth song, which quickly melted into a loving exchange with Tiffany Hedman.  As the two traded longing glances, the soprano physically turned to watch them fulfil her words, “In the flashing of her eyes, in the darkness of her warm glances, her anxious heart cries after him”.

 

Both Fernanda Oliveira and Erina Takahashi made an impact as the Woman – both had elements of power and melancholy in the final song.  Erina was particularly haunting. Her eyes were wide with terror, as she looked over her shoulder at the pursuing men, after a shudder in the orchestra.  To the words “I am seeking rest for my lonely heart”, she threw herself into the arms of her men, but they held her awkwardly without comfort and her arm slumped down dejectedly.  She filled the stage with her misery and despair.  My colleague stated that the highlight of the performance was Erina’s solo passages.

 

The 1984 revival with guest artists Marcia Haydée and Richard Cragun and Wayne Eagling as the Messenger of Death is etched in my memory, with two established Wagnerians, Linda Finnie and John Mitchinson singing.  John Mitchinson, a notable Tristan and Peter Grimes, sang Song of the Earth throughout the 1970s.

 

MacMillan always insisted that the words were available to the audience in German and English.  During the 1960s and 1970s they were published in a separate booklet, handed out with the programme.  Surtitles came along towards the end of MacMillan’s life, but he rejected them, stating that he did not want to distract the viewer from the movement onstage.  The MacMillan celebration programme booklet devotes four pages to the text of Song of the Earth with a further three full page illustrations of the etchings by Paunzen.  I asked at Milton Keynes for a copy of the text and was very pleased to discover a pile of texts, lying next to the cast sheets.  Well done ENB! 

 

Both Birmingham Royal Ballet and Scottish Ballet have achieved considerable success and approbation with their performances last week, so the bar(re) is high for ENB.  Tamara Rojo has set herself a challenging target, seeking to perform one of the iconic ballets of the Royal Ballet repertoire on their home turf.  Timmie says above that the men were “more synchronised”, but they are still a long way off.  Based on yesterday’s performances, there is much work needed to perfect the timing and spacing; the ballet staff will be busy for the next couple of days.  Tamara is to be applauded for her courage, but let us wait for the results.

 

[alison]

Li Tai Po, thank you for your fascinating and detailed assessment - and for sharing your obvious years of experience of the ballet.  You make me wonder once again (I think the last time was for Mayerling) what proportion of dancers actually take the time to find out what the words which they are performing to mean - it can make a big difference.

 

Incidentally, do you need the image (if that's what it is) at the bottom of your post?  If not, one of the Mods can edit it out.

[capybara]

30 minutes ago, alison said:

  You make me wonder once again (I think the last time was for Mayerling) what proportion of dancers actually take the time to find out what the words which they are performing to mean - it can make a big difference.

 

I hope that I'm not breaking any rules by saying that the words of 'Song' were posted on the wall of ENB's main studio during the rehearsal period and dancers were reading them there.

[li tai po]

Alison - thanks for your kind reply.  I am a technical disaster; if you are able to remove the double image from my post, I will be very grateful.

[Timmie]

16 hours ago, li tai po said:

... I asked at Milton Keynes for a copy of the text and was very pleased to discover a pile of texts, lying next to the cast sheets.  Well done ENB! ...

 

What! For the Thursday matinee we, the audience, had to wait until the interval for a cast list and then had to help ourselves from behind the counter. On Saturday the cast lists were not easily available and no sign of the text on either occasion, and I didn't even think to ask (I did have the words on my phone though ). Well done ENB but poor show MK Theatre .

[capybara]

14 minutes ago, Timmie said:

 

What! For the Thursday matinee we, the audience, had to wait until the interval for a cast list and then had to help ourselves from behind the counter. On Saturday the cast lists were not easily available and no sign of the text on either occasion, and I didn't even think to ask (I did have the words on my phone though ). Well done ENB but poor show MK Theatre .

 

There were similar problems in Manchester. Insufficient cast sheets and patchy availability of the leaflet with the words.

[RuthE]

23 hours ago, capybara said:

 

The key to getting into 'Song' is, in my view, really getting to know the music. I've had it playing for weeks now because I knew that I have previously found it difficult.

 

I actually find the opposite - I knew the music long before I saw the ballet, and like other sung ballets (especially Requiem and Gloria, both of which I know well as a singer) I have trouble concentrating on the dancing when I've got singers I could be listening to.  But maybe that's just me!  I've seen Song several times at the RB and once at Scottish Ballet, and my mind's a bit of a blank about it other than the costumes and who the singers were.  I'm mostly going to the upcoming ENB-at-ROH one because of the singers...

[Jan McNulty]

2 hours ago, capybara said:

 

There were similar problems in Manchester. Insufficient cast sheets and patchy availability of the leaflet with the words.

 

I bought a programme on Wednesday night in Manchester.  I had absolutely no problem getting a cast sheet on Thursday afternoon.  The gentleman we approached said he only had enough sheets for the programmes and that we should buy one.  My friend had hers in her bag... she produced it and lo and behold he pulled a PILE of cast sheets from below the counter and gave us one each!  We then heard other people near us complaining about having to wait until the interval to get a cast sheet... I'm afraid we put them straight and they rushed back into the foyer!

 

As I understand the companies usually have to use their own resources to print the cast sheets I do not understand the motivation of staff who refuse to give members of the public one.

[Lizbie1]

30 minutes ago, Jan McNulty said:

 

As I understand the companies usually have to use their own resources to print the cast sheets I do not understand the motivation of staff who refuse to give members of the public one.

 

There used to be a programme seller at the Coliseum who was quite funny about distributing cast sheets - she may still be there.  I never understood it either!

[aileen]

Presumably, it's because the theatre and / or company wants people to buy programmes. The Coliseum is notorious for hiding away cast sheets but I have no compunction in asking for one and telling other people that they are available without buying a programme. I actually do buy programmes but I sometimes see several performances of a production or bill and I'm obviously not going to buy a programme at every performance.

 

 

 

 

 

 

 

 

[Lizbie1]

3 minutes ago, aileen said:

Presumably, it's because the theatre and / or company wants people to buy programmes. The Coliseum is notorious for hiding away cast sheets but I have no compunction in asking for one and telling other people that they are available without buying a programme. I actually do buy programmes but I sometimes see several performances of a production or bill and I'm obviously not going to buy a programme at every performance.

 

 

That at least would make sense - in this case she didn't like giving separate cast sheets to people who'd just bought a programme from her (this being for ENO performances, where the cast sheets usually just duplicate what's in the programme).

 

I don't know if it had occurred to her that the cast sheet could be for another member of the party.

[capybara]

1 hour ago, Jan McNulty said:

 The gentleman we approached said he only had enough sheets for the programmes and that we should buy one. 

 

I'm afraid that I was rather naughty and asked (nicely, I hope) what must have been the same gentleman in Manchester whether he was 'on commission' in relation to programme sales. Well.......... I've never found cast sheets so jealously guarded or so scarce. Many 'proper' programmes did not contain them. And, after all, they are supposed to give members of the audience the opportunity to vote for their favourite dancer. So they are clearly meant to be available to everyone. Anyway, that perspective eventually resulted in a release of one copy between 5 people! I So I was able to return to my seat feeling quite triumphant!

[aileen]

Yes, I had what turned into an argument and then a complaint (by me) at the Coliseum a few years ago after I pointed out to a programme seller that when you are asking people to pay £6 for a programme it really should come with the cast list without you having to ask for it.

 

I'm sorry to say that there are rather a lot of people working in customer facing roles in theatres who appear to be poorly trained / supervised and / or to have little concept of customer service.

[RHowarth]

49 minutes ago, capybara said:

 

I'm afraid that I was rather naughty and asked (nicely, I hope) what must have been the same gentleman in Manchester whether he was 'on commission' in relation to programme sales. Well.......... I've never found cast sheets so jealously guarded or so scarce. Many 'proper' programmes did not contain them. And, after all, they are supposed to give members of the audience the opportunity to vote for their favourite dancer. So they are clearly meant to be available to everyone. Anyway, that perspective eventually resulted in a release of one copy between 5 people! I So I was able to return to my seat feeling quite triumphant!

Totally agree with this and have had many an argument with theatre staff about this in the past. But I think staff at ATG venues DO have targets to meet with regards to programme sales, which doesn’t help matters.

Edited October 23, 2017 by RHowarth
To correct typos!

[li tai po]

Thanks, Gavin - the mandolin was at the back of the pit tonight and sounded clearly into the auditorium.  You and the musicians deserved the ovation you received tonight at ROH.  Thrilling!

[Sim]

Indeed it was.....and accompanied by a first-class performance from Erina Takahashi!

[Jan McNulty]

Please put your thoughts of ENB's Song of the Earth performances at ROH for the MacMillan Celebrations on that thread rather than this one.

 

I've moved Capybara's post over.

 

Thanks.

 

Link to MacMillan thread:  

 

[Irmgard]

I made the trip up the M1 to see three performances of ENB’s new double bill at Milton Keynes, despite these two ballets making strange bedfellows.  The epic “Song of the Earth” is difficult to programme with other works because its length (65 minutes) and its abundance of beautiful dancing, not to mention the ravishing music, make it almost a programme in itself.  Adding this relatively short production of “La Sylphide” afterwards made for a very packed programme and, while not an entirely successful pairing, the audience certainly received their money’s worth, hence my rather long report and I thought it would be easiest to group together the three  performances of each ballet that I saw, rather than run through each separate show.

 

I have not seen “Song of the Earth” since the 1980s and so my memories are of the original Stuttgart cast and the first and second generation of Royal Ballet dancers coached by MacMillan himself.  At the Thursday matinee, the performance was dominated by the Woman of Fernanda Oliveira, making a stunning return to a classical role after being plagued by knee problems for much of this year.  I have always found her to be an exceptionally musical artist and, especially in the final, half-hour song (“The Farewell”), she seemed to have absorbed Mahler’s profound music into every fibre of her being, as well as the essence of the poems.  To watch her fill out every millisecond of a port de bras or a developpé devant en pointe was breathtaking and reminded me of what a ravishing Manon she was in 2009.  The ease with which she sailed through the complexity of MacMillan’s choreography was a joy to behold and demonstrated that here is a true MacMillan dancer.  She was well matched by Ken Saruhashi as the Messenger.  At once both elegant and dynamic, he was a mesmerising presence throughout the ballet whether subtly stalking his prey or joining in with the high jinks of the fifth song, “The Drunken Man in Spring”.   Aitor Arrieta completed the trio of leading dancers as a slightly subdued but always stylish Man.  The radiant Adela Ramirez was the featured dancer in the third song, “Of Youth”, and she gave a ballerina performance of sheer class and joie de vivre whether dancing by herself or being manipulated by the excellent quartet of men.  Throughout the ballet, my eye was continually caught by the serene elegance and stage presence of Anjuli Hudson but this was an extremely satisfying performance from all concerned, apart from the mezzo soprano who appeared to be having a few intonation and tonal problems.

 

At the Saturday matinee, I was treated to another ravishing performance by Fernanda Oliveira, replacing an indisposed Jurgita Dronina.  I would not have thought it possible for her dancing to be more beautiful than it was on Thursday but somehow there was an added poignancy to its beauty.  Likewise, Saruhashi gave another outstanding performance as the Messenger.  New to me was Skyler Martin as the Man.  Although a little stiff in the upper torso, he gave a handsomely virile performance and was an excellent and sympathetic partner. Adela Ramirez enchanted once more in the third song and the set of aerial cartwheels where she is manipulated by her wonderful quartet of men (Menezes, Liotardo, Drummond and Kraus) was truly spectacular in its precision. 

 

Erina Takahashi, on Saturday evening, brought her exquisite delicacy to the central role.  Watching this sylph-like creature, it is hard to believe that she is in her twenty-first year with the company, having graduated straight from ENB School in 1996 followed by a meteoric rise to principal by 2000.  In contrast to Oliveira’s Woman who yearns to escape the inevitability of death, Takahashi seems resigned from the outset and there is a quiet acceptance which haunts her dancing.  Jeffrey Cirio, as the Messenger, gave a stylish account of the choreography although did not seem to have the same deep grasp as Saruhashi of the music or the comedy of the fifth song.  Isaac Hernandez, as the Man, seems more intent on the steps at present than in creating a persona, and both his technique and partnering lack a certain elegance which I remember being a hallmark of the dancers who undertook this role in the MacMillan years.  At this performance, the delightful Senri Kou was the featured dancer in “Of Youth” and demonstrated a serene assurance as she was manipulated by the men, as well as a “porcelain” (to quote the song) beauty to her own dancing.  My eye was also caught by the radiance of Jung Ah Choi as one of the ensemble dancers and again by Anjuli Hudson and by her partner, Erik Woolhouse, whose spectacular leap onto the stage in the first song seemed to hover in the air, and who went on to partner Hudson with a princely elegance.  In all, I think these performances were a worthy tribute to MacMillan and it was wonderful to hear the ENB Philharmonic enthusiastically rise to the genius of Mahler’s music whether under the baton of guest conductor Misato Tomita or Maestro Gavin Sutherland. I was amazed that the same singers (Rhonda Browne and Samuel Sakkar) did all three performances, knowing how vocally taxing this song-cycle (or song-symphony as Mahler himself called it) is!  I will certainly be seeing as many performances as possible of this intriguing work at the Coliseum in January.

 

I am a great fan of the production of “La Sylphide” mounted by Peter Schaufuss for the company in 1979 which I saw many times, often with the incomparable Eva Evdokimova in the title role, and I also have fond memories of the interpretations of Elisabetta Terabust and Deborah Weiss.  This previous production also had the advantage of exquisite designs by David Walker who had such a fine understanding and empathy for the Romantic period, particularly in Act II.  There was also extra dancing for the Sylph, James, Effy and Effy’s friends and a lovely pas de trois for the Sylph, Effy and James before the Reel in Act I which I missed most of all from this new production.  I was not impressed by Melby’s Act I costume designs, particularly for the girls who seemed very constrained in rather stiff jackets and unflattering tam o’shanters with the obligatory feather sticking up, not to mention some rather garish yellow tartans.  I was also surprised to see Effy and her friends in hard character shoes, instead of the soft shoes of Schaufuss’s production which highlighted their exquisite footwork, particularly in Effy’s solos. That being said, there is much to enjoy in the production, even if the cast I saw on Thursday afternoon has some way to go before looking comfortable with the mime, which lacked clarity and definition, and characterisation.  The performance was therefore dominated by the magnificent Madge of Laura Hussey, making another welcome return as guest character artist, who gave a masterclass in how mime and acting combine to create a truly great character. James was danced by Ciro Tamayo whose lovely, open beats, in true Bournonville style, were a joy to behold although he gave little in the way of James’s character.  Francesca Velicu looked sweet as Effy but her mime was indeterminate and her footwork, even given the uncompromising character shoes, was not clearly defined.  As the Sylph, Rina Kanehara was delightfully playful and danced very prettily but I would like to see her characterise the Sylph slightly more as a creature of the woods and develop more pliant pliés.  In fact, dry pliés seemed to be the norm with this cast, instead of the super-soft ones of the Romantic period.  Another  surprise was to see James actually holding the Sylph in arabesque at the end of the big ensemble dance in Act II when the whole point is that he cannot touch her (Schaufuss had his Sylph balance against the kneeing First Sylph in his production to maintain this illusion).  I cannot report on this performance without mentioning an incident in Act I in which one of the children (all excellent) danced too close to the edge of the stage and found himself in the safety net over the orchestra pit.  With a little help from the clarinettist beneath him, he managed to haul himself upright and attempted to climb back onto stage whereupon the quick-thinking Amber Hunt stepped forward and pulled him up.  She and her partner carried him offstage to spontaneous applause from the astonished audience while the rest of the dancers and orchestra hardly missed a step or a note of music.  He appeared again in the wedding procession in Act II, apparently unhurt apart from perhaps a slightly bruised ego, and thoroughly enjoyed his applause during the bows at the end.  The whole episode was handled with calm professionalism by all onstage and in the pit.

 

Alison McWhinney, who enchanted me with her Giselle and Juliet earlier this year, took the title role at the Saturday matinee as if to the manner born.  There is a genuine sweetness which infuses her dancing and, for this role, she added a delightful coquetry which made her irresistible to James.  Aitor Arrieta, in the first acting role I have seen him undertake, was an extremely likeable James who highlighted his dilemma over whether to choose his earthly or spiritual love.  He had a lovely chemistry with both McWhinney and the poignant Effy of Anjuli Hudson whose mime was clarity itself and who used it to portray heartfelt emotion.  Her solo was full of exquisite footwork and her feet stretched beautifully, as far as her shoes would allow!  The Gurn of Danny Kraus was so in love with her and so sympathetic (as well as dancing a very fine solo in impeccable Bournonville style), that one felt sure Effy and Gurn would have a very long and happy life together, as predicted by Madge.  At this performance, Madge was performed by Sarah Kundi, successfully adding another character role to her repertoire, not as an ugly crone but more as a faded beauty of a gypsy who brought the full force of her magical powers to bear on the hapless James.  I was captivated at this performance by the entrance of the First Sylph, Connie Vowles, in Act II.  With dry ice obscuring her feet, her bourrées were so smooth that she really did appear to float, which was truly magical.

 

The evening performance marked the return to the stage of Shiori Kase, who has been absent for over a year due to injury, in a role she seems born to dance.  Her Sylph was both ethereal and playful, with a childlike innocence that was utterly enchanting and, if not quite as weightless yet as the divine Evdokimova, she came a pretty close second. The moment when she tells James she will die if he marries Effy was beautifully understated and really tugged at the heartstrings.  Her dancing and musicality made this a performance to treasure and she was rewarded at the end by not only the applause of the audience but also of all her colleagues on stage.  Her James was the very genial Joseph Caley who, although not yet in the same league as Kase, gave a very believable account of his romantic dilemma and delivered some fine dancing.  The acting honours of the evening have to go to the beautiful Stina Quagebeur who transformed herself into a fragile and totally believable ancient woman in Act I and whose every movement and crystal clear mime gestures were infused with meaning.   Despite being played in murky lighting and behind a scrim, the scene in which she ‘cooks’ the magic scarf and relates to her coven her treatment by James and her plans for revenge was not only clear but finely detailed.  The moment when she drew herself up to her full height in triumph over the vanquished James, not only her facial expression but also her whole body language expressed exultation and was pure theatrical magic.

 

[bridiem]

Thank you for this wonderful post Irmgard!