The Royal Ballet: Giselle, January-March 2018

[Richard LH]

2 hours ago, HappyTurk said:

 

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. 

Very happy to confirm that both debuts were  marvellous and emotional events. Francesca was indeed like a feather, or more appropriately an ethereal spirit in Act 2. Thank you for everyone on here that has expressed the wonder and the techniques of these performances much better than I can. Finally, another word for  the Corps in Act 2 who were just perfect .....

[Jan McNulty]

Hello Richard and welcome to the Forum!

[Richard LH]

Thank you ! I am rather a latecomer to ballet but have found particular inspiration in the brilliant talent coming through in the RB recently, and looking forward to seeing Winters Tale, Manon and hopefully Swan Lake this season, as well as Sleeping Beauty at the ENB. I hope to learn and appreciate more about this beautiful art form as a result !

[Odyssey]

Thanks everyone for the lovely reviews (and photos Janet). For those of us who weren't able to see these wonderful debuts, your enthusiasm is palpable.

I was reading the review of the school matinee ( not sure when this occurred) - by Jann Parry for Dance Tabs over in the Dance links. The remarks about Alexander Campbell were less than glowing for his interpretation of Albrecht and the partnership with Francesca which, in the light of the comments here, is quite surprising. I wonder if anyone on these forums saw both performances and felt there was a marked difference in how they came across.

[Sharon]

I so enjoyed today's performance, the corps were wonderful, congratulations to the rehearsal coach for the successful result. The pas de six I really enjoyed - but can someone please tell me what is wrong with Takane Akada's left point shoe and why it is always gaping open over her little toe, I do find it a distraction. I found Elizabeth Herrod's performance today was fantastic she really is in great form and I'd like to see her given more solo's. Fumi Kaneko as previously mentioned was perfect in this role, such light airy jetes. Matthew Ball is a really fine dancer who is developing with every role and I'm stupidly very proud of my fellow Liverpudlian🤗 But today Yasmine Nagdhi proved yet again that she really is an artist that the RB can be proud of, her impeccable technique, her musicality and her interpretation of this tragic heroine was amazing to witness. After the performance she said she wished she had the opportunity to do it again. As do we, but that will happen, this ballerina is going to very far and I feel honored to have seen her very first successful attempt at this role.

[penelopesimpson]

4 hours ago, Anna C said:

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.  

I, too, was looking forward to meeting Forum Members but South Western Trains (spits the words out) denied me that pleasure and a performance I had been looking forward to for months.  Got to station at 0700 to find that 'due to unexpectedly rescheduled engineering works,' I was to be put on a bus which would, apparently get me to Waterloo 'some time around' 1300.   Oh, and then the same journey back.  So I turned round and went home and ranted and raved to anyone who would listen....

Enough.  Gutted doesn't even begin to go there.

Which makes it all the more wonderful to read all your fab reviews.  Thank-you, it helps.

[Lizbie1]

Just a few notes to add from me!

 

I loved both performances, and wouldn't be without either of our lovely girls (as I think of them!) but I probably found myself more engaged with Hayward's Giselle (though if we must make odious comparisons, Naghdi probably edged it on technique). There's something about the extraordinary sense of weightlessness in Act 2 which Hayward and Campbell achieved that leaves your breath suspended.

 

A couple of other things to add to what others have already said: I thought Thomas Mock as Hilarion's interactions with Matthew Ball had a very exciting edge of danger - a real highlight; and I particularly enjoyed Elizabeth Harrod's Moyna.

[LinMM]

Oh penelopesimpson how awful....I really do feel for you ...I think I would have just burst into tears confronted with this so disappointing for you. I only got to the theatre today with about 8 mins to spare ( buses) and was nearly giving myself a heart attack at each red light the bus hit and exclaiming " come on come on faster bus" I'm sure the couple in front thought I was some weirdo mad woman but I couldn't help myself....but pales into insignificance with your totally frustrating episode. Grrrrr

 

 

[LinMM]

I'm honestly too tired to comment now and was thinking of not doing so because of exactly what you said Lizbie ....I just don't want to get into the comparison game with these two lovely talented dancers in debut performances ...but I do so agree with you about that second act of Giselle yesterday with Campbell's totally wonderful partnering together those lifts were out of this world and there were moments when he almost seemed not to be there....she was just floating in space all on her own!! It was quite extraordinary. 

I think I will get a nights sleep and see how I feel tomorrow but it has been such a glorious two days of ballet from the Company 

Edited February 10, 2018 by LinMM

[aileen]

Yes, I noticed something 'unusual' about Takada's foot too. From my position in the stalls today the dancers' feet were directly in my eye line and I was rather mesmerised by Naghdi's pretty feet and exquisite footwork.

 

Can anyone tell me whether there were any tweaks to the choreography since the last run. I seemed to recollect that Hilarion (I thought that Mock was particularly fine in the role) was thrown over the cliff by two Wilis before. And the lighting in Act 2 seemed different; I thought that the Willis' costumes had a greener hue last time.

 

[hephaistion03]

Hello All, 

 

I am writing  this from the sunny shores of Ft  Lauderale Fl , How I miss  being able to attend performances of my beloved Royal Ballet.

 

I have been awaiing these  perfomances of Giselle for months and via this great site finally I get  to read  such glowing reviews of the many pairings , especially Friday and Saturday performaces  .How I would have loved to have been in attandance. 

 

I so agree that the RB seems to be awash with brillaint talent at the moment, and long may it last.

 

One question  please , with all the various principal  pairings , does  the coaching lie wih eg  L Collier , J Cope or is  the coaching for each pairing taken by various coaches ?

 

I do realise that Monica Mason will do some of the coaching for for Myrtha / Bathide but I am intereseted in he coaching of the two main characters

 

Thank you / David 

[Indigo]

1 hour ago, penelopesimpson said:

I, too, was looking forward to meeting Forum Members but South Western Trains (spits the words out) denied me that pleasure and a performance I had been looking forward to for months.  Got to station at 0700 to find that 'due to unexpectedly rescheduled engineering works,' I was to be put on a bus which would, apparently get me to Waterloo 'some time around' 1300.   Oh, and then the same journey back.  So I turned round and went home and ranted and raved to anyone who would listen....

Enough.  Gutted doesn't even begin to go there.

 

 

Sorry to hear this, Penelope. I'm on a South Western Railway route & was affected by engineering works on my journey to the ROH for today's matinee too. In my case the replacement bus service for part of my journey added 50 minutes to my normal journey time on the way up & added 30 minutes on the way back. It all went very smoothly, although I could have done without being "entertained" by the chants of travelling football fans so early in the morning! 

 

I'm very surprised to read that having arrived at your station at 0700, you were advised a replacement bus service wouldn't get you to Waterloo until so long after you were obviously expecting to arrive there.  So I can't help wondering whether somewhere along the line there's been some misunderstanding   Might be worth taking up with SWR's customer services.

In case it helps for the future, the day before travelling I find it's worth double checking train times online with National Rail Enquiries & on the day I also check live train running online before leaving home, as things can change at short notice for a variety of reasons. I do hope you have better luck with the trains next time! 

(Thoughts on the Giselle performances to follow...)

[Lindsay]

I’m with Aileen on this and think Naghdi deserves a much better partner.  Naghdi’s technique is irreproachable so, although there is clearly lots more she can and will do with this role once the nerves of a debut have passed, she was never less than compelling to watch.  Whereas I really don’t get what O’Hare sees in Matthew Ball - he has a pretty face but his characterisation didn’t really advance beyond plain arrogant and his technique did not stand up well to comparison with the excellent James Hay in the pas de six.  In my view, if Hay were taller or Calvin Richardson were British or Marcelino Sambe had not been injured this season, I think any of them could and should rightly have been cast ahead of Ball. 

[Indigo]

 

Hugely enjoyed Giselle on the 9^th & 10^th, with the whole cast giving such lovely performances at both.   I agree with those who have praised Fumi Kaneko & Mayara Magri (both as Myrtha & in the pas de six), Elizabeth Harrod, Kristen McNally, William Bracewell, James Hay & Tomas Mock (Hilarion).

Francesca Hayward & Alexander Campbell were terrific, as others have said. I especially enjoyed Francesca’s Act I. However, while greatly admiring their artistry, I was never really emotionally caught up in their performance. (My loss, I know!)  I’ve previously found this with various of Francesca’s performances, the exception being Fille when she was partnered by Marcelino Sambé. I was very sorry that due to injury, Marcelino wasn’t able to partner Francesca again - this time as Albrecht. I’d love to have seen it & specially booked for that casting. Though Alexander was a wonderful replacement.

What can I say about Yasmine Naghdi & Matthew Ball. I’m still floating happily after their amazing performance, which I found deeply moving. Yasmine was incredible & I treasure her partnership with Matthew. It’s great to see him continue developing & I love the way he is able to express so much through the movement/angles of his body – he’s always stood out for me in this respect.

Together they made me see various nuances in Giselle slightly differently, compared to other partnerships I’ve seen. For example, near the start of Act II when Giselle mimes crying, I’ve always had the impression that Giselle is saying she’s sad for Albrecht or sad for what’s happened. With Yasmine & Matthew’s performance, it very much came across to me that her Giselle was responding to Matthew/Albrecht’s genuine distress & saying he’s crying for me. Which changed the dynamic, so that instead of Giselle forgiving & protecting Albrecht simply because she’s a lovely person, Yasmine’s Giselle was making the conscious decision to forgive & protect in direct response to seeing Albrecht’s remorse & the effect it’s had on him. That gives Giselle more agency & feels less passive.

As Anna C noted in her post, Yasmine & Matthew have such chemistry & incredible synchronicity. At one point in an early Act II duet, although they were dancing separately at the time, due to Yasmine & Matthew's characterisation it seemed to me that as they took off in their separate jumps & landed at exactly the same moment as the other, Albrecht & Giselle’s souls had become entwined in flight. It was profoundly moving. So that at the times when Albrecht is collapsed on the floor & Giselle mimes for him to rise, instead of it coming across to me (as it has previously) that Giselle is encouraging Albrecht to get up, that Yasmine’s Giselle was actually transferring her spirit/essence to Matthew’s Albrecht, to give him the strength to be able to rise & keep going, to survive. I was in tears in both Acts & still feel emotional thinking back to their performance.

I too hope to see more of Yasmine & Matthew’s partnership in the future. But I’m also looking forward to seeing their upcoming performances with other partners (Yasmine & Nehemiah Kish / Matthew & Natalia Osipova in Swan Lake, plus Matthew & Lauren Cuthbertson in Marguerite & Armand).

Edited February 11, 2018 by Indigo
Edited for clarification.

[bridiem]

8 hours ago, penelopesimpson said:

I, too, was looking forward to meeting Forum Members but South Western Trains (spits the words out) denied me that pleasure and a performance I had been looking forward to for months.  Got to station at 0700 to find that 'due to unexpectedly rescheduled engineering works,' I was to be put on a bus which would, apparently get me to Waterloo 'some time around' 1300.   Oh, and then the same journey back.  So I turned round and went home and ranted and raved to anyone who would listen....

Enough.  Gutted doesn't even begin to go there.

Which makes it all the more wonderful to read all your fab reviews.  Thank-you, it helps.

 

I'm so sorry, penelopesimpson!

[Richard LH]

I read that review - I didn't see the Schools performance, but on Friday Alexander Campbell was great, so either he dramatically improved in a few days ,  or the Schools reviewer was being rather unfair. He definitely conveyed the emotion, and dancing technique, for me, and looks a great partner for Francesca. This  Telegraph reviewer agrees (and gives suitably effusive praise for Francesca along the way) !  A five star review... http://www.telegraph.co.uk/dance/what-to-see/francesca-hayward-ravishing-giselle-royal-opera-house-review/

Mark Monahan Giselle Telegraph.docx

Edited February 11, 2018 by Richard LH

[Richard LH]

9 hours ago, penelopesimpson said:

I, too, was looking forward to meeting Forum Members but South Western Trains (spits the words out) denied me that pleasure and a performance I had been looking forward to for months.  Got to station at 0700 to find that 'due to unexpectedly rescheduled engineering works,' I was to be put on a bus which would, apparently get me to Waterloo 'some time around' 1300.   Oh, and then the same journey back.  So I turned round and went home and ranted and raved to anyone who would listen....

Enough.  Gutted doesn't even begin to go there.

Which makes it all the more wonderful to read all your fab reviews.  Thank-you, it helps.

That just sucks. So sorry for you.

[Nina G.]

3 hours ago, Indigo said:

Together they made me see various nuances in Giselle slightly differently, compared to other partnerships I’ve seen. For example, near the start of Act II when Giselle mimes crying, I’ve always had the impression that Giselle is saying she’s sad for Albrecht or sad for what’s happened. With Yasmine & Matthew’s performance, it very much came across to me that her Giselle was responding to Matthew/Albrecht’s genuine distress & saying he’s crying for me. Which changed the dynamic, so that instead of Giselle forgiving & protecting Albrecht simply because she’s a lovely person, Yasmine’s Giselle was making the conscious decision to forgive & protect in direct response to seeing Albrecht’s remorse & the effect it’s had on him. That gives Giselle more agency & feels less passive.

 

I very much felt that too. Yasmine's Giselle in Act II took charge of destiny: instead of accepting Myrtha's authority SHE took charge and told Myrtha to "back off", she was clearly dismissive of Myrtha's interference, she was not going to be intimidated by Myrtha. Fumi Kaneko reacted so well to this reversal of authority and clearly showed she was intimidated by Giselle. Whilst the Willies are unforgiving to men, Yasmine's Giselle showed genuine compassion, forgiveness, and intact love for Albrecht.

[Anna C]

11 hours ago, penelopesimpson said:

I, too, was looking forward to meeting Forum Members but South Western Trains (spits the words out) denied me that pleasure and a performance I had been looking forward to for months.  Got to station at 0700 to find that 'due to unexpectedly rescheduled engineering works,' I was to be put on a bus which would, apparently get me to Waterloo 'some time around' 1300.   Oh, and then the same journey back.  So I turned round and went home and ranted and raved to anyone who would listen....

Enough.  Gutted doesn't even begin to go there.

Which makes it all the more wonderful to read all your fab reviews.  Thank-you, it helps.

 

Oh my heavens, that's dreadful!  I was feeling stressed when sat on the broken down train, but at least I did get there, albeit in the nick of time.  I'm so sorry for you. 

[Myddle]

Giselle is not my favourite ballet and I don't usually book for it, but I decided to see Naghdi and Ball after seeing them in Romeo and Juliet and I am very glad I did. I thoroughly enjoyed the performance and found it curiously moving - although that could have been partly induced by the tears of the woman sitting next to me! I found their synchronicity breathtaking; they both seemed to float at one point. I thought they acted well and conveyed the heartache of the situation in a very direct, moving and clear manner. I cannot wait to see them dance together again - shame about Swan Lake!

[bridiem]

1 hour ago, Richard LH said:

I read that review - I didn't see the Schools performance, but on Friday Alexander Campbell was great, so either he dramatically improved in a few days ,  or the Schools reviewer was being rather unfair. He definitely conveyed the emotion, and dancing technique, for me, and looks a great partner for Francesca. This  Telegraph reviewer agrees (and gives suitably effusive praise for Francesca along the way) !  A five star review... http://www.telegraph.co.uk/dance/what-to-see/francesca-hayward-ravishing-giselle-royal-opera-house-review/

Mark Monahan Giselle Telegraph.docx

 

Absolutely, and that's a great review in the Telegraph. The Dance Tabs reviewer seems to have a very fixed opinion of what an aristocrat/Albrecht should look like and since Alexander Campbell doesn't fit that mould perhaps it prevented her from 'seeing' any further. But I thought it was a grossly unfair review myself.

[Odyssey]

2 hours ago, Richard LH said:

I read that review - I didn't see the Schools performance, but on Friday Alexander Campbell was great, so either he dramatically improved in a few days ,  or the Schools reviewer was being rather unfair. He definitely conveyed the emotion, and dancing technique, for me, and looks a great partner for Francesca. This  Telegraph reviewer agrees (and gives suitably effusive praise for Francesca along the way) !  A five star review... http://www.telegraph.co.uk/dance/what-to-see/francesca-hayward-ravishing-giselle-royal-opera-house-review/

Mark Monahan Giselle Telegraph.docx

Thanks for responding to my query Richard LH. Jann Parry's review surprised me in the comment about the partnership and the dismissal of Alexander's interpretation.

[MAB]

10 hours ago, Lindsay said:

I’m with Aileen on this and think Naghdi deserves a much better partner.  Naghdi’s technique is irreproachable so, although there is clearly lots more she can and will do with this role once the nerves of a debut have passed, she was never less than compelling to watch.  Whereas I really don’t get what O’Hare sees in Matthew Ball - he has a pretty face but his characterisation didn’t really advance beyond plain arrogant and his technique did not stand up well to comparison with the excellent James Hay in the pas de six.  In my view, if Hay were taller or Calvin Richardson were British or Marcelino Sambe had not been injured this season, I think any of them could and should rightly have been cast ahead of Ball. 

 

I absolutely get what Mr O'Hare sees in Matthew Ball, it's his versatility.  Although I did miss one cast, out of the rest it was Mathew Ball who moved me to tears in The Two Pigeons (a hard ask from me as I'm hard as nails) and it was Matthew Ball that amazed me by stepping in to replace Edward Watson in McGregor at short notice and didn't leave me feeling short changed. 

 

Yesterday was his debut, I expected nerves and mistakes and that's what I saw.  He may improve or he may not and yes, he's not a virtuoso but in my opinion he's already done enough to prove what a wonderful asset he is for the company.

[annamk]

5 minutes ago, bridiem said:

 

Absolutely, and that's a great review in the Telegraph. The Dance Tabs reviewer seems to have a very fixed opinion of what an aristocrat/Albrecht should look like and since Alexander Campbell doesn't fit that mould perhaps it prevented her from 'seeing' any further. But I thought it was a grossly unfair review myself.

 

Just to put the other point of view here ...... I wasn't at the schools' matinee but I did see Act 1 of Hayward/Campbell's public debut and I entirely share Jann Parry's (DanceTabs) opinion that Campbell was inexpressive and miscast. I've enjoyed watching Campbell in a number of roles (Two Pigeons, Hans Peter) but I was disappointed with his performance on Friday evening and I thought I could see why he wasn't originally cast as Albrecht. I was in the stalls circle near the stage and to me in Act 1 Campbell was a blank page. I thought Ball, at the Saturday matinee, was a better actor, using small gestures and changes of expression effectively. Ball's dancing was also a considerable improvement on his recent Nutcracker prince. 

 

Also at the Saturday matinee James Hay gave by far the best account in this run of the pd6 lead male role - such a pity he wasn't given the opportunity to dance Albrecht.

 

I hope that Fumi Kaneko stays injury free so that by the time of the next run we can see her dance Giselle - she will surely be wonderful. 

 

 

[Jamesrhblack]

I agree with so much of what has already been written about two wonderful performances that I will try to be brief.

 

Giselle is one of my favourite ballets. I still remember as a child listening to the old Ace of CLubs recording of musical extracts played repeatedly by my late aunts on the Isle of Sheppey and it was the first ballet I saw at the ROH (with Sibley and Macleary). I find the second, in particular, with its invertsion of the idealised woman turned in to avenging furies absolutely in line with other artistic developments of the time (think of the ballet in Robert Le Diable) and am perhaps inspired in my thinking here by Mario Praz’s The Romantic Agony.

 

The current ROH production is over thirty years old so has a combination of both familiarity but also a certainty for the audience - it’s always been a production that audiences seem to have lived unlike the controversial Dowell / Sonnabend Swan Lake - and the choreographic and musical text seems to be about as good as it is likely to be, although I do miss the more extended version of Myrthe’s solo and the fugue for the Villis that can still be experienced in the ENB / Skeaping version.

 

A ballet as rich as Giselle will always inspire different responses from different audience members and we will all be conditioned also by our won pre-conceptions and expectations. Perhaps I’ll start with some certainties. The ladies of the Corps de Ballet in Act 2 was tremendous at both performances, utterly discvoplined and thrilling when moving as one whether implacably “consecrating” their sacred space in the “cow hops” or bearing down on Hilarion. The gentlemen in Act 1 also had tremendous precision and you could almost feel the rhythmical precision in the air as they moved across the stage to celebrate the harvest. Kristen McNally brings absolutely clarity to the mime narration (one of my favourite passages) and it’s good to see a Berthe who is recognisably young enough to be Giselle’s Mother.

 

There seemed uncertainmties in the Pas de Six on Friday: the “bookends” were certainly not together and charismatic as William Bracewell is I think he needs greater precision and control. The contrast with James Hay on Saturday afternoon was marked and, indeed, the whole section seemed more coherent, although I share the concerns about Takada’s feet. Is anybody able to explain exactly what is going on with her shoes?

 

Mayara Magri showed tremendous authority as Myrthe, and her leaps, so high and commanding, yet with a softening as she landed were really remarkable. It’s a ferociously demanding role and both she and Fumi Kaneko at the matinée were first class: Kaneko’s first entrance touched the sublime.

 

”Compatiosons are onerous,” as Dogberry says and it seems invidious to set two contrasting debut couples against each other. It’s the nature of the beast of course. Whether its Borg / McEnroe, Callas / Tebaldi, or indeed Hayward / Naghdi, people will seek to set one over the other, and yet was it not Martina Navratilova who said that if Chris Evert hadn’t been around at the same time, each might have won more titles but been a less good player.

 

Hayward is, to quote Richard Buckle, “swallow fleet” and her dazzling turns of speed and unexpectedly high flights of elevation were captivating. Her naturalness of presence, her sincerity and her charm were delicious to watch and her partnership with Alexander Campbell perfectly judged in shared line and musicality. You really feel that they dance together and as one. There were moments in Act 2 that where absolutely breath taking and I found the detail of his characterisation remarkable given that he had initially not been cast and that this was for both of them a debut. He’s not afraid to play Albrecht as unsympathetic as well as charming and I found his increased maturity on stage suited well with, as others have written, the arrogant disregard for his actions and the need to try and save face as catastrophe unfolded. He seemed a man broken in Act 2, not necessarily for lost love but with guilt for his actions, and this, I think, lies behind his throwing away of the flower at the end: the Dream is over, discarded. He’s such a superb partner and a dancer of real technical panache too. I had looked forward to this performance for weeks and was certainly in no way disappointed.

 

 

 

 

[Jamesrhblack]

Having said that I would be brief, I find that I am writing more and more, possibly a reflection of the impact these two performances made. Non dance loving fans are astonished that those of us who are will see multiple performances and casts and yet I cannot think of anybody who attended both debut performances feeling anything other than blessed by the experience.

 

Having been entranced by Yasmine Naghdi’s Aurora debut last year, I had high expectations of her Giselle and they were not disappointed. People write of her musicaloity and I think that it is this that draws me to her dancing. She seems to breathe in the music and express it through movement and for a character such as Giselle motivated by a love of dance this works wonders. I found her absolutely captivating and her rounding of arms to create a romantic, as opposed to classical line, gave a most beautiful period feel in what is a naturalistic staging.

 

Maybe she didn’t turn as fast or jump as high as Hayward when released from her grave but I felt that the moment when Giselle realises that Albrecht is weeping read even more tellingly. The effortless grace to her high extensions and the beauty of her line were ravishing to behold and, heretically, I have to agree that I would wish to see her with  another partner. Her onstage rapport with Matthew Ball “reads” as it did in Beauty (I didn’t see their Romeo) and I can appreciate his support as a partner but I really don’t find his characterisation strong enough to complement her and I don’t find his solo dancing as satisfying as, for example, Reece Clarke’s. After his fall in Beauty last year, there seemed to me to be a near stumble in his Act 2 solo, and I think it will do him good to work with other ballerinas, such as Cuthbertson and Osipova, who may be less sympathetic and require him to dig more deeply in to his undoubted talent, whilst Naghdi may blossom yet more (is that possible? The prospect is thrilling) with more experienced partners (such as Kish for Swan Lake) and the n be re-united in a season or so. I appreciate these may be heretical writings on here and I am in no way wishing to undermine Matthew Ball’s undoubted talent, potential and achievement.

 

I was very moved by Yasmine Naghdi and the prospect of her Odette / Odile and other roles to come, as well as returns to those in which she has made debuts, one to relish for future seasons. Is she too tall to dance with Alexander Campbell? If Hayward is regularly to be partnered, at least in planning with Sambé, is that an option to explore?

 

 

[capybara]

I don't think that I can remember a more wonderful 10 days at the ROH than those from Feb 1st onwards.

 

Firstly, there was the lovely celebration of Marianela Nunez's 20 years with the RB. Along with others, I liked the contrast she achieves between Giselle the village girl and her ghost wili. Vadim Muntagirov's Act 2 as Albrecht was simply astonishing. His dancing was superb but he also convinced me that he was near to death. And, then, as himself, he presented a bouquet to Marianela. A lovely, unique moment.

 

I must confess to making a late booking for last Monday's performance with Akane Takada and Benjamin Ella. Of course, it was not a debut for her but she absolutely blew me away as Giselle, especially in Act 2 where she was so airborne I thought that she would float off into the ether. She was so tender in Act 2 that it was heartbreaking. Perhaps inevitably, and certainly on here, the focus tends to be on Hayward and Naghdi but Takada is right up there too. Although I felt that Ella erred on the side of 'village boy' rather than a Count in disguise, his was a believable, indeed touching, characterisation. Some of his dancing felt a little rushed but, hey, this was his first major role and his presentation was lovely.

 

I was entranced by Francesca Hayward's Giselle at the General Rehearsal but couldn't 'get with' Alexander Campbell as Albrecht at all. It was disappointing to find, therefore, that - apart from a few more sweeping gestures with his cloak - he was still in 'peasant mode' for the public performance. I know that I should really run for cover now  but, along with Jann Parry in Dance Tabs, I would like to see Hayward paired with someone else (at least sometimes) as I sense that her portrayals could go even deeper. I love her, of course, but there remains something of the 'little girl' about her on stage and I want to see more of the woman that lies inside.

 

Oh, Kevin O'Hare, why did you schedule two debut shows within 24 hours? Yesterday afternoon's performance was almost too much to take. I thought that Yasmine Naghdi captured perfectly the contrast between the Giselle of Act 1 and her spirit self in Act 2, which was exceptionally moving. I think that that was because she is so musical, has such beautiful arms and lines and relates so totally to her partner. Matthew Ball gave us a real person in the shape of Albrecht, especially in Act 1. I also liked his dancing - a lot. However, there is something holding me back from feeling that his performance quite matched that of Naghdi (or, indeed, that of Hayward or Takada). 

 

Fumi Kaneko, who I saw dance Myrtha twice, is surely, along with Anna-Rose O'Sullivan, a Giselle in waiting. Another emerging talent is Teo Dubreuil (one of the side men in yesterday's pas de six). Such exciting times!

[Jan McNulty]

26 minutes ago, Jamesrhblack said:

 

. Is she too tall to dance with Alexander Campbell? 

 

 

 

 

They danced Romeo and Juliet together recently in, I think, Bahrain.

[Timmie]

1 hour ago, annamk said:

 

...Also at the Saturday matinee James Hay gave by far the best account in this run of the pd6 lead male role - such a pity he wasn't given the opportunity to dance Albrecht...

 

 

James Hay and his fabulous landings is definitely one of my takeaway memories from Saturday.

 

1 hour ago, Jamesrhblack said:

...Kaneko’s first entrance touched the sublime...

 

Fumi Kaneko's Myrtha was indeed sublime. Her slow rotation in arabesque was flawless and her jumps were beautifully light. She was a Myrtha that I felt some pity for as someone doing a tough job (Queen of the Willis) and maybe her heart's not really in it.

Another takeaway memory is Mayara Magri and Chisato Katsura in the Pas de Six, their timing and synchronisation was superb.

Edited February 11, 2018 by Timmie
bad English

[aliceinwoolfland]

I agree capybara, I thought Takada was incredible. Hayward was also absolutely breathtaking, but Takada and Ella as a combination moved me to tears. I didn’t get to see Naghdi but am excited to see her in Swan Lake! I wonder how she’ll portray Odile?

[Jamesrhblack]

1 hour ago, Jan McNulty said:

 

 

They danced Romeo and Juliet together recently in, I think, Bahrain.

Was this the MacMillan choreography Janet?

[Jan McNulty]

44 minutes ago, Jamesrhblack said:

Was this the MacMillan choreography Janet?

 

 

I believe so - they (and Gary Avis as Tybalt) were guesting with the company from Perm.  I saw photographs on twitter.

[penelopesimpson]

3 hours ago, MAB said:

 

I absolutely get what Mr O'Hare sees in Matthew Ball, it's his versatility.  Although I did miss one cast, out of the rest it was Mathew Ball who moved me to tears in The Two Pigeons (a hard ask from me as I'm hard as nails) and it was Matthew Ball that amazed me by stepping in to replace Edward Watson in McGregor at short notice and didn't leave me feeling short changed. 

 

Yesterday was his debut, I expected nerves and mistakes and that's what I saw.  He may improve or he may not and yes, he's not a virtuoso but in my opinion he's already done enough to prove what a wonderful asset he is for the company.

I am also a fan of Matthew Ball.  I thought he was incredibly moving in Wolf Works.