English National Ballet: La Sylphide, The Song of the Earth / Le Jeune Homme et la Mort, London, January 2018

[LinMM]

Hi Lizbie 1 yes am still going tomorrow can't wait now!!

i will be with a friend over from Oz and have messaged Jillikins as we have met before that I will hang around the stalls bar before the performance and/or will search out Jillikins in the stalls or bar in the interval! 

I will be wearing reddish trousers and a black jumper and red ear rings which look like two little raspberries!! 

Hope we can meet up tomorrow 

Linda 

Edited January 19, 2018 by LinMM

[Irmgard]

For those of us privileged to be at the Coliseum, Thursday afternoon was one of those rare occasions when we realise we are in the presence of genius.  I am, of course, referring to the unforgettable debut of Cesar Corrales in “Le Jeune Homme et la Mort”.  Sadly, the  house was poorly sold but it was heartening to see empty seats and boxes in the Stalls being occupied by ENB dancers who were taking advantage of the thirty-five minutes required to transform the stage from Paris to Scotland to support their colleague and still have time enough to prepare for “La Sylphide”.  Their enthusiastic ovation was evidence of the admiration and affection in which Corrales is held by his fellow dancers.  His profound technical and dramatic artistry is all the more remarkable, given that he is still only twenty-one!  Corrales was the embodiment of the tortured artist, imbuing every second of the virtuosic choreography with searing emotion as he battled with and finally succumbed to Death’s lure.  Death was the peerless Jia Zhang, chosen by Luigi Bonino when he first staged Petit’s work for ENB in 2011.  Zhang had made a sensational debut as Myrtha in “Giselle” in 2010, sadly seen only by Woking audiences, during her second season with ENB but, apart from reprising ‘jeune homme’ in 2013 and now, she has inexplicably languished in the corps de ballet since then.  From her first sensual swivel of her hips, it was clear that Death would triumph over the Man.  Coolly manipulative and exultant, Zhang wrapped her extraordinarily long, expressive limbs around Corrales’s body, enticing him, rejecting him and dominating him.  The result was electrifying and resulted in what must surely rank as one of the most erotic performances ever seen on this stage.  It is sad that Zhang and Corrales will only give one more performance of this work (Saturday afternoon) which, particularly due to their astounding interpretation, is timeless.  The Royal Ballet will be lucky to have the extraordinary talent of Corrales from next season which I hope will be nurtured and cherished.

 

“La Sylphide”, which followed, featured another lovely performance from Erina Takahashi and Ciro Tamayo in the leads, and Anjuli Hudson as Effy, the first time I have seen her in the role at the Coliseum.  As well as her exemplary footwork and Romantic style, hers was a beautifully detailed interpretation of a love-struck young girl who is puzzled and then devastated by her fiancé’s betrayal, particularly poignant when she collapsed into the arms of James’s mother (the dignified Stina Quagebeur) when she realises he has left her, and again when she looks beseechingly at her before accepting Gurn (the very appealing William Beagley).

 

In Thursday’s evening performance, Joseph Caley made his debut in ‘jeune homme’ and he was in full command of the choreography, if a little careful in its execution, but gave a rather pale interpretation, especially in comparison with Corrales.  This was a shame, as Death was the extremely sultry Begoña Cao, making a long-awaited return to the stage in a dancing role (her actual debut in the role was the previous evening).  She used her long limbs and hugely expressive eyes to full advantage to provoke, taunt and tantalise Caley in a sexually charged performance that was always enthralling without ever descending into melodrama.  Sadly, Caley only has the one performance, as it would have been interesting to see if he could rise to Cao’s level of dramatic intensity, having totally nailed the choreographic challenges.

 

The evening was also my one and only chance to see Aaron Robison and Jurgita Dronina as James and his sylph.  Robison is a wonderfully natural actor with totally believable reactions to events as they unfold.  I particularly liked the way he sprang out of his chair with excitement when he thought the sylph had returned, barely able to disguise his disappointment when he saw it was Effy (the charming Connie Vowles) who had awoken him.  His dancing is exhilarating and expansive, and his sympathetic partnership with Dronina is fast becoming a must-see.  Although not blessed with the exceptional ballon of the late, great, Evdokimova, Dronina nevertheless creates the illusion of being a creature of the air through her innate understanding of the Romantic style, in particular her delicate, fluttering bourrées which make her appear to hover, and her exquisite use of the foot resulting in pretty, noiseless running and landings from jumps.  She also has a beautifully expressive upper back and neck, especially when she droops with sadness or looks up coquettishly at James.  Her sylph is playful, beguiling, utterly enchanting and ultimately very touching.  From the moment James wraps the magic scarf around her arms, we can see her pain as the poison begins to affect her and her wings fall off.  When she realises she is blind, terrified, she reaches her arms out to find James and I loved the way, full of remorse, he grasps her searching, trembling hands to reassure her.  Such is her artistry that her eyes really do appear sightless and, in her final moments, she struggles to stand en pointe as her strength fails, before collapsing lifeless into the arms of the surrounding sylphs: heartbreaking!

[Coated]

21 minutes ago, Irmgard said:

I am, of course, referring to the unforgettable debut of Cesar Corrales in “Le Jeune Homme et la Mort”. 

 

Great review, nearly as good as watching it again (Though I'm still holding on to my Sat ticket for one more helping of Corrales and Zhang)

Edited January 19, 2018 by Coated

[capybara]

La Sylphide is, perhaps, the only 'classical' ballet where a mix and match approach to casting is feasible - and that is what ENB has done. I have now seen many performances (on tour and in London) and I think that I have not only caught all the Sylphs, Jameses, Effies, Gurns and Madges but also, possibly, all the various combinations of the dancers cast in the central roles.

 

The fact that everyone has brought their own individuality to these characters has added immensely to my enjoyment. Among the Sylphs, Rina Kanehara, Shiori Kase, and Alison McWhinney edged it for me. All three had charm, devilment, wistfulness, and a lightness of touch - more than sufficient to make any man lose his mind. They seemed truly other-worldly whiie other Sylphs were, perhaps, a little too 'knowing'. Every James has danced with great elevation, batterie and fabulous feet. However, in the performances I saw, Aaron Robison alone nailed his tours en l'air. [It must be really hard to do that when the weight of the kilt has to be carried round as well!]. Not all the Jameses seemed to be totally comfortable with their characterisation when outside the well-known set piece dances. The outstanding exception was Joseph Caley. He had not registered all that strongly in Song of the Earth but, as James, he engaged us with his story throughout.

 

I enjoyed all the Effies and Gurns and the clarity of the mime from Giorgio Garrett, Anjuli Hudson, and Francesca Velicu was particularly notable. It was also good to see how other young dancers (William Beagley and Henry Dowden in particular) grew in every aspect of their roles as the run progressed.

 

In the wake of her stunning Myrtha in Khan's Giselle,  Stina Quagebeur was a riveting presence as Madge - completely 'in role' and believable throughout. It was difficult to take one's eyes off her. No wonder critics variously described her as "stealing the show" or "the true star".

 

The dancers are not exactly challenged by the reel in Act 1 - I thought that even I could go on and do that! But the discipline of the female corps in Act 2 (an ENB trademark), while not always truly ethereal, was very impressive. The children were a real credit to their schools.

 

I'm not qualified to make judgemens about the Bournonville style but I have a sense that almost everyone found it difficult to absolutely 'nail' the port de bras. I guess that it takes a particular kind of schooling and years of practice.

 

I've now seen rather a lot of this ballet and will be happy to 'give it a rest'!. It will never be in my top 100. But I am grateful to ENB for bringing it back.

 

 

Edited January 20, 2018 by capybara
typos

[Lizbie1]

11 hours ago, LinMM said:

Hi Lizbie 1 yes am still going tomorrow can't wait now!!

i will be with a friend over from Oz and have messaged Jillikins as we have met before that I will hang around the stalls bar before the performance and/or will search out Jillikins in the stalls or bar in the interval! 

I will be wearing reddish trousers and a black jumper and red ear rings which look like two little raspberries!! 

Hope we can meet up tomorrow 

Linda 

 

Hope to see you there!

[cavycapers]

On 19/01/2018 at 01:04, Darlex said:

 The ladies looked more like people in costumes rather than 'real sylphs'

I loved both Alison McWhinney and Jurgita Dronina as sylphs, totally convincing as ethereal beings with their lightness of touch, and I wish I could say the same about the corps as sylphs, but they seemed all too human.  Maybe it was being overlit, or the whiteness of the tutus, or having seen the RB Wilis on Friday night, whose synchronisation made them appear to be one entity, but I was sadly unconvinced.  

[Scheherezade]

I have only seen one performance, the first in this part of the ENB run, so I can't make comparisons, but I loved both parts of the programme. Rojo and Vasiliev were a known quantity, both having danced Jeune Homme before, and did not disappoint although, given the choice, I would have gone for the Zhang/Corrales pairing, having been wowed by Zhang's woman in 2011 and by pretty much everything Corrales has done since joining the company.

 

Sylphide was more of a surprise as the reviews had previously been mixed and the Sylph, James and Gurn were not drawn from the top ranks but, my goodness, what amazing performances they gave. Plaudits, then, to Alison McWhinney, Aitor Arrieta and Henry Dowden along, as is becoming customary, with the reliably scene-stealing Stina Quageneur, all of whom made for a memorable evening and once again raised ENB's profile as a credible rival to the RB.

[annamk]

Totally agree with other posters here who praised Cesar Corrales Jeune Homme - what a powerful and unbelievably mature performance Cesar gave this afternoon and what terrific chemistry between him and Jia Zhang's woman.  I can't wait for the opportunity to see more of him at the Royal Ballet next season. It worked out that I saw largely the same Sylphide cast in both performances : Alison McWhinney, Aitor Arrieta ,Henry Dowden and Stina Quageneur. ENB may be losing one of their star male dancers but they seem to have others absolutely ready to take on leading roles and Aitor Arrieta's James blew me away: nuanced acting, great balon, razor sharp feet. I hadn't come across Henry Dowden before but I'd be happy to see more of him. This afternoon I found Alison McWhinney's Sylph very touching and Stina Quageneur was marvellous on both outings. The entire company danced with charm and sincerity. I really regret not seeing more casts. 

[LinMM]

Agree absolutely annamk with your above post. I sort of had a hunch Corrales would be good in this role and he was ....and Jia Zhang was terrific too. But it's a strange little ballet and I found the final bit at the end a bit weird in the context but extremely effective in a dramatic and theatrical way! 

The big surprise for me in Sylph was Aitor Arrieta .....I thought his dancing was superb ....almost perfect Bournonville style ....great to see.

Stina was in the perfect role for herself as Madge but she has impressed me ever since I saw her in a masterclass for Akram Khans Giselle. Henry Dowden is new for me too and I thought he was really good in his role .....has he just joined the company? I just don't recall seeing him before but would be happy to see again too. Alison McWhinney was lovely as the Sylph so all in all a very enjoyable afternoon.

 

Great to meet up with Jillikins and really sorry to miss Lizbie1 hopefully next time.

 

[aileen]

I was also at today's matinee. I fully expected Corrales to be great in the role, and he was, but Zhang was equally terrific. As well as being sexy there was something absolutely implacable about her which made the ending make sense. 

 

Arrieta, whilst he didn't (IMO) quite match Tamayo in his dancing, brought very good characterisation to the role of James. As others have said, Quagbeur was exceptional as Madge. I found it hard to take my eyes off her so compelling was she. All the little details and nuances which she brought to the role (particularly how she used her head and eyes) fleshed out the character and made her believable as a person rather than just a 'cardboard cut-out baddie'. The rest of the cast was, I think, the same as I had seen last Saturday matinee.

 

Anyway, the dancers are now off for a very well deserved break after a very long and busy first half of the season. In the light of some comments about the corps in the early performances of Song of the Earth I feel that the company would probably have benefitted from having more than two days (one of which was a day off) between the end of the extremely long Nutcracker run and the start of the Song/Sylphide run.  

[alison]

In the first week, I was reflecting that in many ways it might have been better to have started the run with Jeune Homme.  It would have given the main body of the company a bit of a rest after all those Nutcrackers.  (With Vasiliev present, it might also have got the company increased publicity, which could only have been a good thing)

[JohnS]

I enjoyed yesterday's matinee - an unexpected bonus as I was in London for the evening’s Giselle, found I had the time and tickets on the day were discounted.  I'd never seen Le Jeune Homme et la Mort and was very taken with it.  I fully agree with all the rave reviews Cesar Corrales and Jia Zhang have received.  Stunning and provocative  - what I like in ballet.

 

I also enjoyed La Sylphide with fabulous dancing from Alison McWhinney, Aitor Arrieta, Adrian Lizardi and Henry Dowden.  Stina Quagebeur was an incredibly strong Madge.  I don't think La Sylphide will be a ballet I’d rush to see that often, I’m not particularly engaged by the characters and music, but I’m very pleased to have caught this double bill and now understand much more vividly the enthusiastic posts on the thread.  So many thanks to numerous contributors for encouraging me to go.

[Guest]

15 hours ago, alison said:

In the first week, I was reflecting that in many ways it might have been better to have started the run with Jeune Homme.  It would have given the main body of the company a bit of a rest after all those Nutcrackers.  (With Vasiliev present, it might also have got the company increased publicity, which could only have been a good thing)

 

Agree with the idea of giving the dancers a chance to rest by putting Le Jeune Homme et la Mort on first after Nutcracker.

 

No disrespect to Vasiliev, and by all means invite him if it will boost ticket sales which look a bit sticky. But what I don't get about ENB is the frequency with which guests are featured on opening nights or on special occasions such as the performances at the Royal Opera House or the Paris Opera. It makes it seem as if company dancers are not up to the job when that is very much not the case. This week, there have been have three very effective Jeune Hommes from Cesar Corrales (superlative), Isaac Hernandez, and Joseph Caley and another principal - Aaron Robison - didn't get a shot at a role which would surely have suited him. Yet all the official reviews have been about Vasiliev.

 

A similar thing happened recently when Jeffrey Cirio, another guest, danced both ROH performances as The Messenger in Song of the Earth and two outstanding ENB Messengers - Robison and Ken Saruhashi - did not get this opportunity.

 

Puzzling.............

[serenade]

I was at the matinee too...I thought it was a really fantastic show.

 

I've wanted to see La Jeune ever since watching White Nights which opens with Baryshnikov dancing a part of it.  I was not disappointed.  Corrales/Zhang were both strong and very convincing in their roles.  It's such an interesting piece, really dark, I really liked it a lot!  The music as well, it's really something.  I thought the orchestra sounded extra great.  Everyone in the audience seemed to love it, Corrales got a massive cheer 

 

I saw La Sylphide last week, loved it, and thought Tamayo was fantastic but I thought Aitor Arrieta was equally great in the role, and Alison McWhinney was superb again.  The corps and all the whole cast really sold it.  The score is amazing and I just love this ballet, I wish I had booked to see it more.  

 

Unfortunately it seemed like it sold really badly  it looked half empty from where I was.     

[aileen]

I think that selling 14 Sylphides in two weeks was wildly over optimistic. I seem to remember that it didn't sell particularly well at the ROH a few years ago and there were only six or eight performances of it. I think that either Song or Jeune Homme (probably the former) should have been paired with something else but there probably wasn't time to rehearse something else because of the tour and the long run of Nutcracker which involves the whole company. The Coliseum doesn't seem to give ENB any assistance with marketing their productions other than displaying flyers in the foyer. They are happy to use my data to market ENO's own productions but are not prepared to use it to market ENB's (but perhaps ENB would have to pay a fee for this and have chosen not to do so so, for whatever reason).  

[Irmgard]

It was heartening to arrive at the Coliseum yesterday half an hour before the matinee to find the main foyer buzzing with excitement and queues at the ticket desk.  The stalls, at least, looked much fuller than for either performance on Thursday but there was still room for the company dancers to sit out front to watch the incomparable pairing of Cesar Corrales and Jia Zhang in ‘jeune homme’.  Once again, their searing performance was rewarded with a very enthusiastic and prolonged ovation and, speaking to Corrales afterwards, he said he could feel the support of the audience throughout the performance.  There is little more I can add to what I wrote about their Thursday performance except that once again it was mesmerising in its intensity and that this ideally cast couple raised the temperature considerably on a grey Saturday afternoon.  I doubt there will be anything in ENB’s UK performances for the rest of the season to show off Corrales’s spectacular talent so perfectly. Therefore, I am extremely grateful I was able to see both unforgettable performances.  As for the stunning Jia Zhang, I would hope that her riveting performances will lead to more featured roles for her.  Personally, I would love to see her as the Lilac Fairy in the June performances of “Sleeping Beauty”.

 

“La Sylphide” was given an extra boost by Gavin Sutherland in the pit bringing out the subtleties of the music and giving it an extra buoyancy. Although the Romantic style still eludes some of the corps of sylphs, especially in the ports de bras, there is no doubt they all responded to the joyous sounds coming from the pit with a sparkling performance.  I was so pleased to finally see Aitor Arrieta’s charismatic James on the Coliseum stage, having thoroughly enjoyed his beautiful dancing in Milton Keynes.  On the Coliseum stage he gave full rein to his spectacular, stylish leaps.  There was a touching chemistry between him and his lovely Sylph, Alison McWhinney, who never fails to impress with her captivating charm and exquisite Romantic dancing.  The performance was dominated by the magnificent Madge of Stina Quagebeur, who I also had not seen in this role since Milton Keynes.  I was astounded by how even more finely detailed her character has become and my eyes were drawn to her from the moment she hobbled on to sit beside the fire.  From the looks of hatred she shot at James whilst telling fortunes to her final triumphant laugh as the curtain falls, it was clear from every action and her wonderfully clear mime that her only thought was of revenge against him. This was a remarkable portrait by a remarkable artist and I would love to think her formidable talents may be let loose on Carabosse during the forthcoming performances of “Sleeping Beauty”.  Finally, a word of praise for the children appearing in the production for their always enthusiastic dancing which was, especially amongst the girls, of a higher standard than that of the children in ‘Nutcracker’.

[LinMM]

Yes Caesars dancing was so fantastic yesterday but it was only on the way home that I started thinking just HOW easy he made leaping on and off and spinning around on that table!!  Completely seemed to take that for granted! Amazing!! Also Jia Zhang is another dancer who really dances so well with her eyes. She stood out for her dancing in the Nutcracker and am looking forward to seeing more of her. 

 

I completely forgot to mention the children from yesterday's performance they were really good and totally captivating....with excellent stage presence ........from the West London Academy I believe? I will find out more about this Academy as it deserves supporting ......don't know how much public money it gets and so on. 

 

[aileen]

Around the internet there are some great photographs of Corrales and Zhang. I hope that it's alright to mention that there is a particularly good one on Katya Khaniukova's (public) instagram account showing a smiling, triumphant Zhang with a haunted Corrales following after her gripping her hand. It captures something of the performance.

[fromthebalcony]

8 hours ago, turtledove said:

 

Agree with the idea of giving the dancers a chance to rest by putting Le Jeune Homme et la Mort on first after Nutcracker.

 

No disrespect to Vasiliev, and by all means invite him if it will boost ticket sales which look a bit sticky. But what I don't get about ENB is the frequency with which guests are featured on opening nights or on special occasions such as the performances at the Royal Opera House or the Paris Opera. It makes it seem as if company dancers are not up to the job when that is very much not the case. This week, there have been have three very effective Jeune Hommes from Cesar Corrales (superlative), Isaac Hernandez, and Joseph Caley and another principal - Aaron Robison - didn't get a shot at a role which would surely have suited him. Yet all the official reviews have been about Vasiliev.

 

A similar thing happened recently when Jeffrey Cirio, another guest, danced both ROH performances as The Messenger in Song of the Earth and two outstanding ENB Messengers - Robison and Ken Saruhashi - did not get this opportunity.

 

Puzzling.............

Robison was guesting the week of the ROH performances with Dronina in a Canadian ballet gala.

[Jan McNulty]

10 hours ago, aileen said:

Around the internet there are some great photographs of Corrales and Zhang. I hope that it's alright to mention that there is a particularly good one on Katya Khaniukova's (public) instagram account showing a smiling, triumphant Zhang with a haunted Corrales following after her gripping her hand. It captures something of the performance.

 

I don't know if this link will work for everyone.  It's a fabulous photograph Aileen, thanks for mentioning it!

 

 

[aileen]

Thanks for posting it, Janet. It works for me.

[Jillykins]

I had a perfect day on Saturday at the Coliseum. Thank you to dancers for allowing us to watch company class in the morning. Then the breathtaking Corrales and Zhang in Jeune Homme. Drama, technique and stunning music. The table and chairs seemed like members of the cast. Corrales tortured eyes reached the back of the Stalls, Zhang sneer was chilling.

La Sylphide was a true period piece, full of the charm of Bournonville choreography. Loved Arrieta as James, such elevation and crisp batterie, hands in low bras bas bit wooden but beautiful en l air. I enjoyed the swirl of the kilts and the lovely children. I enjoyed McWhinneys Sylphide but felt the corps of Sylphides were lacking magic, a couple of stilted dancers and bright lighting didn’t help. I am only nitpicking it was a great afternoon. 

Really enjoyed meeting LinMM and Lizbie1. The forum gives me so much. Wonderful to be able to share our feelings even if we don’t always agree. Looking forward to Winters Tale Insight on 30th and Giselle matinee Feb 10.

[MAB]

Regarding Jeune Homme, I was grateful that Corrales at least deigned to wear a facsimile of the original costume.  I found Ivan Vasiliev's sprayed on jeans both inappropriate and singularly unflattering to his body type.  Cesar Corrales was wonderful in the role, as indeed a few years ago was Yonah Acosta, sometimes company members can impress far more than guests.

[amos73]

14 hours ago, LinMM said:

Yes Caesars dancing was so fantastic yesterday but it was only on the way home that I started thinking just HOW easy he made leaping on and off and spinning around on that table!!  Completely seemed to take that for granted! Amazing!! Also Jia Zhang is another dancer who really dances so well with her eyes. She stood out for her dancing in the Nutcracker and am looking forward to seeing more of her. 

 

I completely forgot to mention the children from yesterday's performance they were really good and totally captivating....with excellent stage presence ........from the West London Academy I believe? I will find out more about this Academy as it deserves supporting ......don't know how much public money it gets and so on. 

 

 

The children were from Young Dancer's Academy in West London, they don't get any public money but they do a lot of fund raising and I think currently 50% of the students there are on some kind of scholarship/bursary. They have had the most incredible experience touring with ENB in the Autumn and performing at the Coliseum these past two weeks!

 

P.S. It does deserve supporting as they are a fantastic vocational school but don't get any government support. There is a gala dinner with Darcey Bussell on March 8th which is for the specific purpose of raising funds for the scholarship and bursary fund - more details are on the school website https://www.westlondonschoolofdance.co.uk

Edited January 22, 2018 by amos73
To add more detail

[capybara]

I was overwhelmed by the performances of Jeune Homme led by Cesar Corrales and Jia Zhang – so much so that I have found it difficult to write about it.

It is hard to believe that this work was made in 1946. It feels so contemporary in both theme and choreography. I think that I have now seen 8 different male dancers in this ballet, each portrayal very individual and very valid (I agree with MAB about Acosta’s  terrific reading in 2011). However, last week, Corrales and Zhang seemed to take things to another level of intensity which enveloped the audience as well.

Corrales showed us clearly how tortured by desire the young man was. His whole body spoke of anticipation, yearning, obsession, smouldering passion, confusion, submission. The power and brilliance of his dancing was also all the more affecting because it became totally the servant of the man’s tragic story.

Zhang was equally sensational: exotically smouldering, controlling, teasing, enticing, manipulating. She, also, used every ounce of her body to be the woman not simply act the woman. And there she was back as a demure Sylph in subsequent performances. What an artist!

And what a way for ENB to bring its Coliseum season to a close.

[RuthE]

Random question about the costumes for La Sylphide - it had me wondering when I went to see it a couple of weeks ago, but I forgot to ask at the time.

 

There are three tartans - the red, the yellow, and the dark one.  We know that the dark tartan is James's, and the yellow one is Gurn's, and Effie changes from one to the other when she ends up with Gurn.  So what is the significance of the red one?

[zxDaveM]

3 minutes ago, RuthE said:

Random question about the costumes for La Sylphide - it had me wondering when I went to see it a couple of weeks ago, but I forgot to ask at the time.

 

There are three tartans - the red, the yellow, and the dark one.  We know that the dark tartan is James's, and the yellow one is Gurn's, and Effie changes from one to the other when she ends up with Gurn.  So what is the significance of the red one?

 

I assume its meant to represent Effie's 'clan'. 

[Beryl H]

I was at the Saturday matinee and there appeared to be more ballet fans about, good atmosphere and more applause than at some of the other performances I had been to, nice way to end this mini season, I saw 5 La Sylphides in total, the McWhinney/Arrieta cast twice, thought they were slightly better on Saturday. My favourite cast was the Takahashi/Tamayo/Kloborg one, it seemed more in the Danish spirit somehow, probably due to Eva Kloborg, I found the other Madges not quite as dramatic 

 

Cesar Corrales was as amazing and intense as Ivan Vasiliev in Jeunne Homme, whereas Isaac Hernandez was softer, but just as anguished, not a bad thing, missed seeing Joseph Caley. Although I always sat high up and missed some of the scenery, The Times review confirmed that the flashing Citreon sign was missing, wonder why.

 

Shame there were so many empty seats, out of the 5 performances  I was able to sit in the seat I had booked three times, the other 2 times I was moved to the Upper Circle,  ENB don't seem to have a regular audience for the cheaper seats although the Stalls and Dress Circle always seemed full. 

[alison]

The flashing Citroen sign was not actually missing, but as I discovered on one of my trips to the Dress Circle it's probably not visible from the left-hand 35% or so of the auditorium (and the chimney for La Sylphide barely was).

 

I suspect the stalls and dress circle seeming full was probably due to the number of discount offers and people upgrading their normal seats accordingly.  I know I ended up spending more on every performance I attended than I would have done sitting in my usual balcony seats, but decided that given how much of the previous year I'd had to miss and what bargains the seats were I could probably afford it for a change.

[LinMM]

Thanks for that fab piccie Janet it definitely captures something of the performance!! 

And amos73 for the info on the school will read up about it as I originally thought it might give chances to more local children as part of its ethos  (something somebody told me....not on the forum!) but will check this out. 

[Beryl H]

8 hours ago, alison said:

The flashing Citroen sign was not actually missing, but as I discovered on one of my trips to the Dress Circle it's probably not visible from the left-hand 35% or so of the auditorium (and the chimney for La Sylphide barely was).

 

I suspect the stalls and dress circle seeming full was probably due to the number of discount offers and people upgrading their normal seats accordingly.  I know I ended up spending more on every performance I attended than I would have done sitting in my usual balcony seats, but decided that given how much of the previous year I'd had to miss and what bargains the seats were I could probably afford it for a change.

 

Yes, I was always slightly on the left and never did see the Sylphide disappear up the chimney or from the chair! I thought of upgrading but decided to stick with my £12 seats, the front row of the Balcony gives an amazing view, compared to the ROH amphi ticket which cost £35 and felt much further away from the stage!

[nevsky]

15 hours ago, fromthebalcony said:

Robison was guesting the week of the ROH performances with Dronina in a Canadian ballet gala.

The ROH performances were in two separate weeks!

[Lenore]

I also saw the matinee on Saturday & can only echo what others have already said. I loved the intensity of Le Jeune Homme & how both Jia Zhang & Cesar Corrales managed to convey the various emotions so clearly (even from my seat in the Balcony). I loved the music as well. I would love to see more of Zhang in the future. 

 

La Sylphide is not something I’ve ever seen before, although before Saturday I did watch the video of Schaufuss/Evdokimova on YouTube (beautiful). I really enjoyed it. I found the ending - when she loses her wings - profoundly moving. Alison McWhinney was a delightfully mischievous Sylph & I also enjoyed Aitor Arrieta. Their smiles were infectious in Act II. Stina Quagebeur is a complete chameleon & always completely inhabits the characters she plays/dances. 

I do agree with others regarding the corps. I felt some of the dancing was a bit stiff. A minor quibble. 

 

Overall, it was a really enjoyable double bill; I only wish I could have attended more performances from this run. I do wonder if the empty seats were indicative of the month (just after Christmas, before payday)? The Balcony was noticeably sparse & I remember Le Corsaire being the same last year around the same time...