Sim Posted February 10, 2018 Share Posted February 10, 2018 Agree with all of the above. I liked the way Campbell portrayed Albrecht as a bit of a bastard, just using Giselle to alleviate his boredom. A simple gesture told us this: after he whispers in Wilfred's ear what he intends to do with Giselle, he throws his arms out to the side as if saying "heeey, of course I'll get my way, I'm irresistible". I don't think I've seen that before. It made his abject contrition in Act 2_all the more poignant and believable . Their Act 2 was wonderful. I don't think I can add any more to what's been said already. Mayara Magri was fabulous as Myrtha; I found myself training the binocs on her a lot, especially when she was standing still. She smirked, she smouldered and oh how she jumped. Another future Giselle, methinks. Now I have to try and get some sleep before tomorrow's matinee! 12 Link to comment Share on other sites More sharing options...
Sim Posted February 10, 2018 Share Posted February 10, 2018 4 hours ago, penelopesimpson said: Top or bottom of escalator? Bottom of the escalator tomorrow. 2 Link to comment Share on other sites More sharing options...
nycitybird Posted February 10, 2018 Share Posted February 10, 2018 I was moved by how feather light she was in Act 2, especially in the series of lifts. As a cockney geezer near me in the audience said, 'If she jumped in a puddle there wouldn't be a splash!' And Alexander shaking his head no when she started slipping away from him again at the end. I hope they get a cinema relay next time as I'd love to see their faces close up and I think this partnership needs to be recorded. I'll be at today's matinee as well and will try to make it to the escalator. 10 Link to comment Share on other sites More sharing options...
FLOSS Posted February 10, 2018 Share Posted February 10, 2018 (edited) A short comment about the act 2 lifts in Giselle. I recall Markova appearing in a series of BBC2 programmes in which she coached David Ashmole and Margaret Barbieri in Swan Lake, Les Sylphides and Giselle. When it came to Giselle she said that originally there had been no overhead lifts in act 2 as Giselle does not fly she floats and that what the audience had originally seen was Giselle being held slightly off the ground as if she was floating above it. She did not say much more about it but I suspect that what Albrecht was required to do in the original version or at least the late nineteenth version which N. Sergeyev had taught Markova was not only far less spectacular than the press lift (aka Bolshoi lift) which the RB uses today but also more difficult for the man, a bit like the dead weight lift which according to the Ratmansky reconstruction of Sleeping Beauty occurs in the first act of the ballet. In his version one of the princes holds Aurora about a foot off the ground straight in front of him at the point where we are used to seeing Aurora lifted to perch on the prince's shoulder. In both cases the original lift is less spectacular than the RB's current version of the choreography but it is extremely challenging for the man as in both cases the earlier form of the choreography requires the man to hold his partner in front of him in a dead weight lift. A type of lift which Dowell said that Ashton liked using and which Dowell on one occasion described as a "forklift truck" lift. Edited February 10, 2018 by FLOSS 4 Link to comment Share on other sites More sharing options...
JohnS Posted February 10, 2018 Share Posted February 10, 2018 A wonderful debut Giselle from Francesca. I thought she lived the role throughout, utterly convincing whenever she was on stage and a magnetic presence. Innocent, vulnerable, playful at the start of Act 1, capturing and embodying the spirit of dance that she lives for; tragic in her mad scene; and ethereal in her exquisite Act 2, protective of Albrecht to the end and deeply moving when pleading for his life. And her dancing and technique is a wonder to behold. She seems extraordinarily centred yet so flowing and fleet of foot. I can see Giselle being Francesca’s signature role (but then she delivers wonderful performances whatever she’s dancing). I agree very much with the comments about how she brings back memories of Alina. Where time is suspended with Giselle floating from pointe to pointe in a tremendous arc beautifully supported by Alexander’s Albrecht, I did wonder if Koen Kessels might have been more expansive - to my ears the tempo slightly quickened rather than luxuriated. I very much agree with the praise for Alexander in how he shaped his role from aristocratic seed sower, through recognition of his love and what he had done, to utter remorse. His dismissal of his dalliance with Giselle when confronted by Bathilde was chilling. Again fabulous dancing and very moving in his final slow walk at curtain fall. He discarded Giselle’s parting flower - was this a sign that he realised he was not worthy of her? I thought some Albrechts kissed and held the flower at the end. Two other performances stood out - Kristen McNally’s Berthe, wonderfully characterful as always, and an astonishing Myrtha by Mayara Magri. Fabulous dancing, absolutely secure in the tremendously exposed opening, and commanding throughout. Was this her Martha debut? She consistently delivers excellent performances but her Myrtha was extraordinary. Many thanks again to bangorballetboy for curtain call photos and Bloomsberry Flowers. A very busy weekend for them and how richly Francesca deserved all her bouquets. 12 Link to comment Share on other sites More sharing options...
capybara Posted February 10, 2018 Share Posted February 10, 2018 1 hour ago, JohnS said: Many thanks again to bangorballetboy for curtain call photos and Bloomsberry Flowers. A very busy weekend for them and how richly Francesca deserved all her bouquets. I reckoned that around a thousand pounds worth of flowers was surrounding Frankie. Wow! 9 Link to comment Share on other sites More sharing options...
Jam Dancer Posted February 10, 2018 Share Posted February 10, 2018 3 hours ago, JohnS said: Many thanks again to bangorballetboy for curtain call photos and Bloomsberry Flowers. A very busy weekend for them and how richly Francesca deserved all her bouquets. Curtain call photos !?😳 Any chance of seeing those? The interest of being at work at the Winter Olympic Games is not making up for missing two huge debuts this weekend...please keep the reviews coming (sigh) 2 Link to comment Share on other sites More sharing options...
Beryl H Posted February 10, 2018 Share Posted February 10, 2018 Agree with all comments, thought I was seeing Alina again, Giselle suits Francesca Hayward perfectly, and have never seen such an emotional Alexander Campbell who looked close to tears throughout Act 2, also sensational Myrtha from Mayara Magri, such strong footwork and huge jetes yet all her dancing was soundless and soft, I applauded 3 times during her opening solo, my new favourite Myrtha! Nice to see the very fluid Fumi Kaneko in the peasant pdd too. Looking forward to seeing the photo's now. 4 Link to comment Share on other sites More sharing options...
Ivy Lin Posted February 10, 2018 Share Posted February 10, 2018 Is Giselle being livestreamed? Link to comment Share on other sites More sharing options...
Lizbie1 Posted February 10, 2018 Share Posted February 10, 2018 Well that was a very emotional 24 hours! 5 Link to comment Share on other sites More sharing options...
Bruce Wall Posted February 10, 2018 Share Posted February 10, 2018 (edited) It may have been drizzling outside the ROH this afternoon but inside history was raining down in a telling balletic flood. The Naghdi/Ball Giselle entirely delivered on the initial promise of their Olga/Lensky. The exquisite spontaneity of their combined dramatic glory had not only survived but been enhanced in the most magical - delicious - way lending each audience member a rhapsodic cantata with which to decorate their hearts for at least a generation much as Sibley/Dowell had done in time past. It was a privilege to simply be there. The air throughout this magnificent mesh of moments resonated with the magnanimous benevolence of their combined and individual artistry. It crackled as much as it bedazzled. We were ALL the lucky benefactors. It was - at once and ALWAYS - a gift. . We watched - as one - agape at the zealous focus of their illustrious majesty. Edited February 10, 2018 by Bruce Wall 14 Link to comment Share on other sites More sharing options...
Jan McNulty Posted February 10, 2018 Share Posted February 10, 2018 Overwhelmed again. 10 Link to comment Share on other sites More sharing options...
Sim Posted February 10, 2018 Share Posted February 10, 2018 Just an amazing and deeply emotional afternoon, leaving me speechless and in tears. Wow. Just wow. More when I can stop drivelling and start making sense! 14 Link to comment Share on other sites More sharing options...
Tony Newcombe Posted February 10, 2018 Share Posted February 10, 2018 6 hours ago, capybara said: I reckoned that around a thousand pounds worth of flowers was surrounding Frankie. Wow! If so, I think this afternoon’s flowers cost a little bit more. Two absolutely stunning performances inside 24 hours and let us not forget the fabulous corps de ballet. They have been truly magnificent during this run. 11 Link to comment Share on other sites More sharing options...
HappyTurk Posted February 10, 2018 Share Posted February 10, 2018 (edited) For those who saw both performances, how would you describe the difference between Yasmine and Francesca in Giselle? (Style, interpretation, dancing etc.). Edited February 10, 2018 by HappyTurk Link to comment Share on other sites More sharing options...
bridiem Posted February 10, 2018 Share Posted February 10, 2018 What a tremendous performance this afternoon. Very difficult to believe that Nagdhi and Ball were making their debuts since they both inhabited their roles so completely. Very different from Hayward and Campbell last night, and just as thrilling. Ball’s Albrecht was an arrogant, rather smug young aristocrat, very pleased with life and himself and enjoying his half-real romance with Giselle. But his arrogance was a veneer of youth, and when Giselle died the veneer crumbled and the devastated young man beneath it emerged with now real passion. Naghdi’s Giselle was so lovely, so sweet, so good; and when understanding came, it was too much for her and her mind gave way. Her Act 2 was full of grief; and yet, seeing Albrecht’s now true love, she gained strength from it and returned to her grave at peace. Throughout, the most stunning dancing from both of them. And Fumi Kaneko’s amazing Myrtha, once more flying through the air full of vengeance. Also delighted by Takada and Hay in the pas de six – terrific dancing, and Hay brings such life and ebullience to every role. And a great pleasure to meet some BCF members at the bottom of the escalator! I think we were out in force today (and yesterday). What an incredible and auspicious 24 hours for the RB, the ROH, and for ballet in this country. 17 Link to comment Share on other sites More sharing options...
Nina G. Posted February 10, 2018 Author Share Posted February 10, 2018 I will write something once I have recovered from this afternoon's most stunning performance, my mind is simply numb with all the beauty delivered by Yasmine Naghdi and Matthew Ball. The steady flow of huge bouquets delivered on stage, one after the other , didn't seem to end! Fans must have spent thousands....I have rarely witnessed such a "waterfall" of flowers at any debut. 7 Link to comment Share on other sites More sharing options...
Jamesrhblack Posted February 10, 2018 Share Posted February 10, 2018 48 minutes ago, HappyTurk said: For those who saw both performances, how would you describe the difference between Yasmine and Francesca in Giselle? (Style, interpretation, dancing etc.). Still cogitating ahead of writing at greater length, but I would say that Francesca Hayward was more naturalistic than Yasmine Naghdi. The latter’s music borne dancing, breathed through her body, seemed to be a wonderful evocation of the Romantic movement. Both terrific, Hayward enchanced by Campbell, who was truly outstanding, but, for me, Naghdi just edged it through her musical empathy and evocative prowess. Lovely as her partnership with Ball is, I think she gives a little more than he does, so it will be good that he is challenged by Osipova in Swan Lake and she will be able to, to quote (misquote?) Deborah Bull, “release her inner safety catch” in the experienced arms of Nehemiah Kish. 3 Link to comment Share on other sites More sharing options...
Jamesrhblack Posted February 10, 2018 Share Posted February 10, 2018 (edited) 9 hours ago, JohnS said: I very much agree with the praise for Alexander in how he shaped his role from aristocratic seed sower, through recognition of his love and what he had done, to utter remorse. His dismissal of his dalliance with Giselle when confronted by Bathilde was chilling. Again fabulous dancing and very moving in his final slow walk at curtain fall. He discarded Giselle’s parting flower - was this a sign that he realised he was not worthy of her? I thought some Albrechts kissed and held the flower at the end. Two other performances stood out - Kristen McNally’s Berthe, wonderfully characterful as always, and an astonishing Myrtha by Mayara Magri. Fabulous dancing, absolutely secure in the tremendously exposed opening, and commanding throughout. Was this her Martha debut? She consistently delivers excellent performances but her Myrtha was extraordinary. The discarding of the flower was interesting, wasn’t it. I took it as an indication that his dream was over and back to reality (whether to not that meant Bathilde). Absoluteluy agree re McNally, whose mime read with crystal clarity., and Magri, who was utterly superb. I loved the way in which she managed in grand jeté to expand the movement so that it softened as she landed as well as her manner which was authoritative but not glacially fixed. After three dodgy Myrthas in my last broadcast and theatre experiences, a joy to see both her and Kaneko in consecutive performances. Edited February 10, 2018 by Jamesrhblack 5 Link to comment Share on other sites More sharing options...
HappyTurk Posted February 10, 2018 Share Posted February 10, 2018 Just now, Jamesrhblack said: Still cogitating ahead of writing at greater length, but I would say that Francesca Hayward was more naturalistic than Yasmine Naghdi. The latter’s music borne dancing, breathed through her body, seemed to be a wonderful evocation of the Romantic movement. Both terrific, Hayward enchanced by Campbell, who was truly outstanding, but, for me, Naghdi just edged it through her musical empathy and evocative prowess. Lovely as her partnership with Ball is, I think she gives a little more than he does, so it will be good that he is challenged by Osipova in Swan Lake and she will be able to, to quote (misquote?) Deborah Bull, “release her inner safety catch” in the experienced arms of Nehemiah Kish. Both sound marvelous. I'm incredibly jealous now. I figured Yasmine would take a more "Romantic" approach, which will serve her well in Swan Lake. I imagine Francesca danced like a feather -- very light and bouncy. I also think Ball will be challenged by Osipova, who is quite theatrical and very emotive. Hopefully that will prove to be another partnership in the works. Link to comment Share on other sites More sharing options...
JohnS Posted February 10, 2018 Share Posted February 10, 2018 A second memorable Giselle in less than 24 hours. Yasmine and Matthew do perform so well as partners and this was another very special debut. But first congratulations to a fabulous cast. The Royal Ballet corp are performing so well, so consistently, that there is a risk of taking them for granted. The Pas de Six were a joy - led by Akane Takada and James Hay. After last night’s Myrtha, Mayara Magri was also in the six with Chisato Katsura, David Donnelly and Teo Dubreuil. Kristen McNally again a commanding Berthe and both Elizabeth Harrod and Meaghan Grace Hinkis repeating their very assured Attendants. I very much enjoyed Tomas Mock’s Hilarion. It was also astonishing to have another superb Myrtha, this time from Fumi Kaneko. She, her attendants and the corp provided a wonderful opening to Act 2. And so to Yasmine and Matthew. A lovely, most touching performance delivering the essence of their characters, as they did so memorably in Romeo and Juliet. Matthew’s realisation of his culpability for what he had done and recognition of his love for Giselle was wonderfully portrayed. Yasmine’s journey from the intoxication of love and dance, through the madness brought about by betrayal, to protection and forgiveness in Act 2 was deeply felt. The pas de deux was beautiful and I thought the music ravishingly played and fully supporting the dancing. At the very end Matthew kept hold of Yasmine’s parting flower (Alexander had allowed his to fall) and I like to think that Matthew’s Albrecht would accept Giselle’s forgiveness and be able to move on, probably with Bathilde, but he would never forget Giselle. I was slightly nervous at times that technique may not have been fully secure, particularly in Act 1, but I am sure what I will long remember is the vivid portrayal of the dramatic trajectory of the characters. As people have said even more bouquets, a fabulous afternoon, and all plaudits to Yasmine and Matthew 12 Link to comment Share on other sites More sharing options...
Scheherezade Posted February 10, 2018 Share Posted February 10, 2018 A wonderful debut this afternoon from Naghdi and Ball and, as we have come to expect, what exquisite chemistry. Again as expected, Naghdi showcased Act 2 with her limpid arms and beautiful upper body but, my goodness, how wonderfully Ball is developing! Happy Turk asked for descriptions of the differences between Naghdi and Hayward and I am sure that everyone's impressions will be different but for me, whilst Naghdi's Giselle showed her breathtaking technique, lyrical flair and then some, it was Hayward (whom I saw at the rehearsal) who took my breath away with the heartbreaking credibility that she brought to her interpretation. Coming back, though, to today and I can only echo the plaudits showered upon Mayara Magri, whose musicality always ensures that it is impossible to take ones eyes off her. And what a wealth of talent at the RB, and so reminiscent of the wonderful years of the early '70s. 8 Link to comment Share on other sites More sharing options...
capybara Posted February 10, 2018 Share Posted February 10, 2018 1 hour ago, Nina G. said: Fans must have spent thousands....I have rarely witnessed such a "waterfall" of flowers at any debut. I think that the interesting thing about the flowers for both Frankie and Yasmine is that there is a lovely mix of 'big statement' bouquets (Bloomsbury style) and bunches from M&S or Tescos! More about various performances when I've calmed down a bit after this afternoon. 5 Link to comment Share on other sites More sharing options...
Anna C Posted February 10, 2018 Share Posted February 10, 2018 I was very sorry not to be able to meet the many forum members at the escalator today; our wretched train broke down so dd and I made it to our seats with a mere 4 minutes to spare. I'm not sure I can write very coherently about Naghdi and Ball other than to say their partnership was sublime today. Every part of Naghdi's body seems to inhabit the role, right down to her fingertips. Her "mad scene" was filled with such pain it momentarily immobilised her (and I forgot to breathe). Matthew Ball was excellent, especially in Act 2, but it's the chemistry and incredible synchronicity between Ball and Naghdi that stuns me. They deserved every one of the resounding cheers at the end. I must also mention Fumi Kaneko - not the scariest of Myrthas, but her dancing was faultless and her leaps - wow! Beautiful dancing by Harrod and Hinkis, the corps was absolutely precise, James Hay really stood out in the pas de six with his terrific dancing. Kristen McNally's Berthe literally gave me the shivers with her mime. I SO want to see Naghdi and Ball together again - what a shame they only had this one show. It was such a privilege to see it. I understand the thinking behind giving them different partners for Swan Lake, but Ball is so inherently princely and Naghdi stunning in every role I've seen her dance, I can't help longing to see them together to see what they do with Swan Lake. 11 Link to comment Share on other sites More sharing options...
Scheherezade Posted February 10, 2018 Share Posted February 10, 2018 2 minutes ago, Anna C said: I understand the thinking behind giving them different partners for Swan Lake, but Ball is so inherently princely and Nagdhi stunning in every role I've seen her dance, I can't help longing to see them together to see what they do with Swan Lake. I so agree. And they do seem to bring out the best in each other. 4 Link to comment Share on other sites More sharing options...
Jamesrhblack Posted February 10, 2018 Share Posted February 10, 2018 5 minutes ago, Scheherezade said: I so agree. And they do seem to bring out the best in each other. Having seen them together twice now, I absolutely “get: that, but I still remember how wonderful Sibley and Wall were together so we may see something new and exciting as well.... 6 Link to comment Share on other sites More sharing options...
aileen Posted February 10, 2018 Share Posted February 10, 2018 Ooh, I'm posting in trepidation here when I write that, for me, the performance didn't quite catch fire. Now, there may have been reasons for this unrelated to the actual performance on stage (slight vision problem resulting from a medical procedure, a rather restless neighbour and possibly being a bit too far forward) but I didn't find the narrative arc from young girl in love to death completely convincing. Personally, and I've said this before in relation to Nunez's interpretation, I feel that there has to be some clear vulnerability for the death (whether by heart failure, suicide or otherwise) to make sense and I didn't find this in this afternoon's performance. Naghdi danced beautifully apart from some tentativeness in the 'hopping solo' and I felt that her exceptional phrasing and musicality rather showed up Ball's relative immaturity. He seemed to relax once the big pdd in Act 2 was over and really went for it in the dance to his death. I know that this pairing is very much admired but this is the second time that I have thought that Ball was not a match for Naghdi and that she deserves to have a more experienced partner sometimes. I would like to see her partnered with Muntagirov as I think that the finesse and classical purity of their dancing would make them a good match. 1 Link to comment Share on other sites More sharing options...
Scheherezade Posted February 10, 2018 Share Posted February 10, 2018 1 minute ago, Jamesrhblack said: Having seen them together twice now, I absolutely “get: that, but I still remember how wonderful Sibley and Wall were together so we may see something new and exciting as well.... True. And Dowell with so many. Ditto, of late, Muntagirov but there is always that extra something with the special partner. 3 Link to comment Share on other sites More sharing options...
bridiem Posted February 10, 2018 Share Posted February 10, 2018 10 minutes ago, aileen said: Ooh, I'm posting in trepidation here when I write that, for me, the performance didn't quite catch fire. Now, there may have been reasons for this unrelated to the actual performance on stage (slight vision problem resulting from a medical procedure, a rather restless neighbour and possibly being a bit too far forward) but I didn't find the narrative arc from young girl in love to death completely convincing. Personally, and I've said this before in relation to Nunez's interpretation, I feel that there has to be some clear vulnerability for the death (whether by heart failure, suicide or otherwise) to make sense and I didn't find this in this afternoon's performance. Naghdi danced beautifully apart from some tentativeness in the 'hopping solo' and I felt that her exceptional phrasing and musicality rather showed up Ball's relative immaturity. He seemed to relax once the big pdd in Act 2 was over and really went for it in the dance to his death. I know that this pairing is very much admired but this is the second time that I have thought that Ball was not a match for Naghdi and that she deserves to have a more experienced partner sometimes. I would like to see her partnered with Muntagirov as I think that the finesse and classical purity of their dancing would make them a good match. Interesting to have an alternative view, aileen! 1 Link to comment Share on other sites More sharing options...
Nina G. Posted February 10, 2018 Author Share Posted February 10, 2018 It pains me too to think "WHEN will we be seeing the Naghdi/Ball partnership again..?". Naghdi is clearly more mature, she is a Principal after all, but goodness me how rapidly Matthew Ball is improving! His acting was very credible and more and more authoritative. Together they are just heartbreaking to watch, beautiful, and oh how much I'd love to see them together in Swan Lake! Yasmine Naghdi was the embodiment of the Romantic ballerina. In Act 1 she personified Giselle clearly setting herself apart from the rest of the villagers (she is supposed to be after all a child conceived from an aristocratic fling...). Naghdi's Giselle in Act 1 was joyful and light, truly believing Albrecht is love with her. Naghdi's development of character throughout Act 1 - culminating in her very believable Mad Scene - was impressive. In Act 2 she showed all her technical skills, her amazing control of balance, her high extensions, and above all her special lyrical talent. At no point did she ever show off, she fully controlled her technic, and her characterisation as a ghostly Giselle was so very moving: even in death she was sweet and kind to her Albrecht, fully forgiving him and showing him her love. Matthew Ball was a wonderful young Albrecht, I found his acting very much improved. The Naghdi/Ball partnership is one to really value and I can only imagine what these two will deliver in a few years time! I only wish they had another one or two performances during this run in order to further develop their character. A very emotional afternoon with two beautiful young artists! The Corps and the Pas de Six dancers also deserve a lot of credit. What an amazing company the RB is right now! 10 Link to comment Share on other sites More sharing options...
Nina G. Posted February 10, 2018 Author Share Posted February 10, 2018 35 minutes ago, capybara said: I think that the interesting thing about the flowers for both Frankie and Yasmine is that there is a lovely mix of 'big statement' bouquets (Bloomsbury style) and bunches from M&S or Tescos! More about various performances when I've calmed down a bit after this afternoon. A lot of big statement "Bloomsbury-style" flowers for Yasmine Naghdi this afternoon, and what I found very touching was (after she gave a rose to her Albrecht) was the gorgeous rose she gave to Conductor Koen Kessels. He even kissed the rose! 7 Link to comment Share on other sites More sharing options...
Jan McNulty Posted February 10, 2018 Share Posted February 10, 2018 I don't usually whip my phone out to take curtain call pictures but these 2 performances were so special I couldn't help myself. 19 Link to comment Share on other sites More sharing options...
HappyTurk Posted February 10, 2018 Share Posted February 10, 2018 I'm really curious to see how Morera will approach Giselle. Such an underrated but beautiful ballerina. 13 Link to comment Share on other sites More sharing options...
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