The Royal Ballet: The Winter's Tale, London, Spring 2018

[zxDaveM]

2 hours ago, penelopesimpson said:

Of course you are right.  My mistake.  Need better glasses.  My apologies

 

whatever

[alison]

5 hours ago, Sim said:

Whenever I want to find Isabella amongst the corps I just look for the biggest smile on the stage, and it will invariably be attached to her. 

 

Me too.  Although someone else is running her close - can't as yet work out who, but I noticed her when Gasparini was doing the pas de six recently

 

3 hours ago, Sim said:

Ha ha I could never see it from SCS or the amphi;  I think they must have tweaked it because this is the first time it was even slightly obvious as to what it was.  But maybe, as you say , it's because I know it's there!! 

 

I've never *not* noticed it, from upstairs or downstairs.  But then, I don't think I was there for the premiere, and people were complaining about not being able to see it, so I was probably alerted to the fact that it *should* be visible ...

[capybara]

Loved the bear last night. I think he's much better viewed from higher up.

 

But, although he was a big hit for me, Cuthbertson, Morera, Lamb and Muntagirov won the laurels by a mile . Such great dancing and artistry from all of them. It will be wonderful to see them up close in the cinema relay

 

I feel that I need time to grow accustomed to Ryoichi  Hirano's Leontes. Part of my problem in Act 1 might have been that a superlative interpreter of the role (Bennet Gartside) was on stage nearby and I wanted them to do a swap!

 

Agree that it was good to see Sambe back dancing with gusto.

 

I think that the story-telling in this ballet is vividly drawn and dramatically very affecting. But I still feel that a bit of corps dancing could be shaved off in Act 2 (particularly) and  Act 3.

 

[ninamargaret]

I won't be seeing this cast until next week, so won't comment on performances. I particularly love this,ballet and the play. It seems to me that the story seems to demand more mature dancers, but it's also important to give younger dancers the chance to dance an 'older' role. It must have been rather difficult for both Matthew Ball and Ryoichi Hirano to both be newcomers in a ballet that,to my mind,demands great acting ability.

[Jamesrhblack]

2 hours ago, ninamargaret said:

I won't be seeing this cast until next week, so won't comment on performances. I particularly love this,ballet and the play. It seems to me that the story seems to demand more mature dancers, but it's also important to give younger dancers the chance to dance an 'older' role. It must have been rather difficult for both Matthew Ball and Ryoichi Hirano to both be newcomers in a ballet that,to my mind,demands great acting ability.

It's just about my favourite Shakespeare play too (Much Ado runs it close). Didn't Hirano dance Polixenes last time? If so, he does have some experience of the piece. Whatever my reservations about his Albrecht, it's certainly remarkable that here was Matthew Ball making another major debut four days on...

[ninamargaret]

As a frequent theatre goer I am amazed at how dancers manage to turn in such excellent performances in the many story ballets that are in the repertoire. Don't let's talk about their dancing abilities - these days that is almost a given. But imagine an actor only getting a couple of chances to play a part in a run. We'd see some pretty dodgy Hamlets! But a dancer dancing,say, Giselle, will probably only get two or three opportunities over a couple of years, hardly enough to develop their skills at performing a role. I'm not being flippant when I say that the dance is the easy bit - getting used to an audience and bringing the character to life is rather more difficult.

[RuthE]

11 hours ago, Jamesrhblack said:

Didn't Hirano dance Polixenes last time? If so, he does have some experience of the piece.

Yes he did, in the last run’s third cast with Claire Calvert and Thiago Soares. I remember finding it remarkable how alike he and Soares looked - something about the facial bone structure I think. Despite the fact that they’re from different racial backgrounds, they gave the impression of almost being able to pass for twins, which added an extra dimension to it for me!

[Josephine]

11 hours ago, Jamesrhblack said:

It's just about my favourite Shakespeare play too (Much Ado runs it close). Didn't Hirano dance Polixenes last time? If so, he does have some experience of the piece. Whatever my reservations about his Albrecht, it's certainly remarkable that here was Matthew Ball making another major debut four days on...

 

Ryoichi Hirano also danced Leontes during the Royal Ballet's 2017 tour to Queensland. Both he and Matthew Ball receive much appreciation in the reviews I've seen so far for this week's opening performance.

 

I agree on The Winter's Tale being a favourite Shakespeare play, and still regret some elements in Wheeldon's vision of the work, although I appreciate the skill of this adaptation.

[Sim]

I have just read all the reviews on today's links.....four stars across the board, with much praise for all cast members.  

[alison]

1 hour ago, Josephine said:

 

Ryoichi Hirano also danced Leontes during the Royal Ballet's 2017 tour to Queensland.

 

At very short notice, at that.

[Josephine]

An interesting interview with Alondra de la Parra:

https://www.gramophone.co.uk/feature/alondra-de-la-parra-why-i-love-working-in-ballet?utm_content=buffer09cb6&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer

[bangorballetboy]

1 hour ago, Josephine said:

An interesting interview with Alondra de la Parra:

https://www.gramophone.co.uk/feature/alondra-de-la-parra-why-i-love-working-in-ballet?utm_content=buffer09cb6&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer

 

Really pleased to see a lady on the podium (doesn't happen enough at the ROH) but on Tuesday she did seem to be standing unusually high up in the pit, so much so that it was noticeable (and quite distracting) from the grand tier.  

[JohnS]

Interesting - I thought at the General Rehearsal Alondra de la Parra was pretty high on the podium and assumed it was for the rehearsal.  I was in the middle of the Stalls Circle.  I did like her conducting!  I see Tom Seligman is conducting the later performances and he doesn't normally have a raised podium so bangorballetboy may have a better view if sitting in front of Tom.

[zxDaveM]

That might be so she can conduct the onstage band as well (that would be my guess)

[Sim]

BristolBillyBob, so what did you think?  And what did your girlfriend think?  

[alison]

That's [Dave's remark] what I was thinking.  Alternatively, would it have anything to do with the baby bump?  (Saying she's 8 months pregnant is a little bit of an overstatement, unless there's something wrong with my maths, but even so ...)  I shall have to make a great effort to listen properly tonight.

[BristolBillyBob]

2 minutes ago, Sim said:

BristolBillyBob, so what did you think?  And what did your girlfriend think?  

 

I'm at work at the moment, but jolly looking forward to writing a mini review later this evening! SPOILER ALERT: I quite liked it. 

[bangorballetboy]

12 minutes ago, zxDaveM said:

That might be so she can conduct the onstage band as well (that would be my guess)

 

Other conductors for WT haven't been so high up (and the onstage band can look at the monitors, like wot the opera singers do).

[BristolBillyBob]

A trip to the Royal Opera House is a relatively rare treat for me these days, but for reasons I’ve mentioned earlier in the thread it was a particularly special night on this particular occasion. Did it live up to it? Well, yes. Yes it did.

 

The Winter’s Tale is exactly my kind of ballet. Full length, so there’s something you can really dig your teeth into, but with modern sensibilities and staging, and without the sometimes endless ballroom scenes of the classics. What can I say? I’m a child of the MTV generation, and have the short attention span to go with it. 

 

Anyway, here are a few of my thoughts on various bits and bobs! Almost all positive, which will come as no surprise to readers of my reviews!

 

My first time seeing Lauren Cuthbertson dance certainly didn’t disappoint. She imbues the role with a subtlety and nuance that is so often the hallmark of more experienced dancers, and the fluidity and grace of her dancing is exceptional. @standingticket earlier in the thread sums up my thoughts of Hirano’s performance, with the sense almost of being possessed by the madness. In a way it reminded me of Sarah Lamb’s performance in Giselle. He definitely gave his all to the role and danced with real conviction.

 

Act 1 was a strong start, but for me, it was Act 2 that utterly sang. Sarah Lamb was absolutely wonderful, filling Wheeldon’s choreography with a youthful freshness and vibrancy. She was a complete joy to watch. Alongside her, Vadim Muntagirov is – and I’m aware this might not be a popular view – not always my favourite dancer, but his partnering with Lamb really worked, and the two of them were completely convincing as the young couple cavorting in the garden of evening.

 

The other aspect that really made Act 2 so enjoyable for me was the corps. Like most people I think, I like to keep an eye on the corps to see if I can spot any gems of performance away from the spotlight. On this occasion, though, there were sparkling gems left, right and centre. The dancing almost across the board within the corps was exquisite. Ashley Dean (if my reading of the programme is accurate) particularly caught my eye, but it seems almost churlish to pick out any one dancer, such was the talent on show. Which of the new crop are future principals? I wouldn’t have a clue where to place my money; pick a card, any card. Anyway, long story short, Act 2 for me was about Sarah Lamb, Vadim Muntagirov and the enviable corps de ballet all bringing Wheeldon’s joyful choreography to life. I simply didn’t want it to end.

 

The first of two other dancers who really stood out was Laura Morera, who portrayed what is arguably the trickiest role in the ballet. She conveyed Paulina’s variety of attributes perfectly and coherently; her dignity, her benevolence, her anger, all with a delightful grace of movement. There’s a lot to put across to the audience while still presenting them through the depiction of a single character, and she achieved this with aplomb. The other dancer that stood out, Beatriz Stix-Brunell, is a definite star in the ascendancy. I saw her at the Alice Insights evening and she impressed me very much then, but at home on the stage she seemed very much a principal-in-waiting. Surely there’s a very rapid climb through the ranks marked out for her. Bethany, who was my ballet buddy – and girlfriend, since you ask – on this occasion – I mean she’s my girlfriend all the time, but ballet buddy on this occasion, oh you know what I mean – has seen only a handful of ballets, but even to her inexperienced eye Beatriz stood out, so she must be doing something very right. She seemed to enjoy herself on the stage so much, with a huge smile on her face. I think I’m right in saying she’s danced the lead in Alice, and will be intrigued to see how she transcribes her bubbly style into meatier, more dramatic roles.

 

When Alondra de la Parra popped up in the orchestra pit, I remarked “Ooh, she’s new”, but I didn’t realise just quite how new she was until reading the reviews today. For a debut performance she was terrific and will be a huge asset to the Royal Ballet, where I’ve not universally been such a fan of the conducting. She brought out real verve and zing from the orchestra, and seemed perfectly in sympathy with the action on the stage. For what it’s worth, I really enjoyed the score – is it still called a score in ballet? – which had an epic cinematic quality to it.

 

So yes, a wonderful performance and a jolly fun night at the ROH, marked out by fine performances from the principals, an act two which had my head swimming in all that I love about dance, and a corps who gave me just as much enjoyment as any single performance elsewhere.    

 

Edited February 15, 2018 by BristolBillyBob

[Mary]

I love Act 2 as well BBB: seen it 5 times, loved it each time- I know others think it goes on too long, but not for me!

So glad you enjoyed the evening.

[bangorballetboy]

39 minutes ago, BristolBillyBob said:

 

When Alondra de la Parra popped up in the orchestra pit, I remarked “Ooh, she’s new”, but I didn’t realise just quite how new she was until reading the reviews today. For a debut performance she was terrific and will be a huge asset to the Royal Ballet, where I’ve not universally been such a fan of the conducting. She brought out real verve and zing from the orchestra, and seemed perfectly in sympathy with the action on the stage. For what it’s worth, I really enjoyed the score – is it still called a score in ballet? – which had an epic cinematic quality to it.

 

 

Just to mention de la Parra conducted WT on the RB's tour to Australia, so not quite a debut.

[RuthE]

Sadly, de la Parra was taken ill today and was unable to conduct tonight’s performance #2. Tom Seligman’s debut scheduled for later in the run was brought forward.

[penelopesimpson]

49 minutes ago, RuthE said:

Sadly, de la Parra was taken ill today and was unable to conduct tonight’s performance #2. Tom Seligman’s debut scheduled for later in the run was brought forward.

And the difference was notable  - he was terrific.

 

well, I’m sure you’ll all be delighted (!)to hear that earth moved for me tonight.  A fabulous performance on all levels andmy companion, a relative newbie,was similarly impressed.

 

Soares and Nunez brought the maturity that I think these roles need and I was moved to tears.  Itziar Mendizabal was sensational as Paulina and William Bracewell had a strong presence.  Stix-Brunell was excellent but I prefer Lamb who brings a brittle youthfulness to the role.  

 

Vadim was Vadim - completely accomplished and unassuming butI would have liked the swagger of Macrae..

 

Thanks to all ROH staff who were fab tonight.  Companion has mislaid ticket and they dealt with it brilliantly, withcharm and aplomb.  Also had a fabulous meal so a terrific evening all round.  Ain’t life grand?

 

 

[penelopesimpson]

3 hours ago, BristolBillyBob said:

A trip to the Royal Opera House is a relatively rare treat for me these days, but for reasons I’ve mentioned earlier in the thread it was a particularly special night on this particular occasion. Did it live up to it? Well, yes. Yes it did.

 

The Winter’s Tale is exactly my kind of ballet. Full length, so there’s something you can really dig your teeth into, but with modern sensibilities and staging, and without the sometimes endless ballroom scenes of the classics. What can I say? I’m a child of the MTV generation, and have the short attention span to go with it. 

 

Anyway, here are a few of my thoughts on various bits and bobs! Almost all positive, which will come as no surprise to readers of my reviews!

 

My first time seeing Lauren Cuthbertson dance certainly didn’t disappoint. She imbues the role with a subtlety and nuance that is so often the hallmark of more experienced dancers, and the fluidity and grace of her dancing is exceptional. @standingticket earlier in the thread sums up my thoughts of Hirano’s performance, with the sense almost of being possessed by the madness. In a way it reminded me of Sarah Lamb’s performance in Giselle. He definitely gave his all to the role and danced with real conviction.

 

Act 1 was a strong start, but for me, it was Act 2 that utterly sang. Sarah Lamb was absolutely wonderful, filling Wheeldon’s choreography with a youthful freshness and vibrancy. She was a complete joy to watch. Alongside her, Vadim Muntagirov is – and I’m aware this might not be a popular view – not always my favourite dancer, but his partnering with Lamb really worked, and the two of them were completely convincing as the young couple cavorting in the garden of evening.

 

The other aspect that really made Act 2 so enjoyable for me was the corps. Like most people I think, I like to keep an eye on the corps to see if I can spot any gems of performance away from the spotlight. On this occasion, though, there were sparkling gems left, right and centre. The dancing almost across the board within the corps was exquisite. Ashley Dean (if my reading of the programme is accurate) particularly caught my eye, but it seems almost churlish to pick out any one dancer, such was the talent on show. Which of the new crop are future principals? I wouldn’t have a clue where to place my money; pick a card, any card. Anyway, long story short, Act 2 for me was about Sarah Lamb, Vadim Muntagirov and the enviable corps de ballet all bringing Wheeldon’s joyful choreography to life. I simply didn’t want it to end.

 

The first of two other dancers who really stood out was Laura Morera, who portrayed what is arguably the trickiest role in the ballet. She conveyed Paulina’s variety of attributes perfectly and coherently; her dignity, her benevolence, her anger, all with a delightful grace of movement. There’s a lot to put across to the audience while still presenting them through the depiction of a single character, and she achieved this with aplomb. The other dancer that stood out, Beatriz Stix-Brunell, is a definite star in the ascendancy. I saw her at the Alice Insights evening and she impressed me very much then, but at home on the stage she seemed very much a principal-in-waiting. Surely there’s a very rapid climb through the ranks marked out for her. Bethany, who was my ballet buddy – and girlfriend, since you ask – on this occasion – I mean she’s my girlfriend all the time, but ballet buddy on this occasion, oh you know what I mean – has seen only a handful of ballets, but even to her inexperienced eye Beatriz stood out, so she must be doing something very right. She seemed to enjoy herself on the stage so much, with a huge smile on her face. I think I’m right in saying she’s danced the lead in Alice, and will be intrigued to see how she transcribes her bubbly style into meatier, more dramatic roles.

 

When Alondra de la Parra popped up in the orchestra pit, I remarked “Ooh, she’s new”, but I didn’t realise just quite how new she was until reading the reviews today. For a debut performance she was terrific and will be a huge asset to the Royal Ballet, where I’ve not universally been such a fan of the conducting. She brought out real verve and zing from the orchestra, and seemed perfectly in sympathy with the action on the stage. For what it’s worth, I really enjoyed the score – is it still called a score in ballet? – which had an epic cinematic quality to it.

 

So yes, a wonderful performance and a jolly fun night at the ROH, marked out by fine performances from the principals, an act two which had my head swimming in all that I love about dance, and a corps who gave me just as much enjoyment as any single performance elsewhere.    

 

Billybob:  Loved your review and I salute you As a brave man.  Or are you simply unaware that being less than orgasmic about Mr. Muntagirov is verboten

[RuthE]

It was lovely to see Nuñez and Soares dance this ballet together as was originally intended in its initial run, had he not become injured. As much as I wish, as others have mentioned, that Bennet Gartside had been cast again.

 

I have a gripe about one detail in the production itself which had never occurred to me until tonight, but is now really bothering me. There’s a 5-10min stretch at the end of Act 2 when Polixenes is watching Perdita with Florizel, and he’s condemning them for not being an appropriate match, and all the while he can SEE she’s wearing that very distinctive emerald which he has seen many times before....?

Edited February 16, 2018 by RuthE

[JennyTaylor]

I opened this thread on the train home from tonight's performance. Goodness, it made an interesting read. How dull it would be if everyone just said it was all wonderful. 

 

I'll add now, that I've never liked Ed Watson as Leontes. Far too OTT for me. Much preferred Bennet Gartside, who for me, was more realistic. I saw him at a Ballet Association dinner at the time and he said - Leontes is not mad, he's jealous.   So, I didn't book for last night's cast.  But I did book (both performances) for Marianela and Thiago, and how happy I was tonight!  

 

Beautifully crafted, emotional performances from them both, culminating in a simply marvellous Act 3 pdd. I really love how the music climaxes in Act 3.  You get little snippets of melody in other acts, but the really moving pieces come in Act 3.  We had Beatrix and Vadim as the young lovers - so all very satisfactory there.  I remember when I saw the original 2 casts,  I felt Vadim was not so effective as Steven McRae simply because he is taller and the choreography was made for Steven, and he did of course, execute it brilliantly, as a smaller, more compact dancer.  I can have no complaints tonight though, Vadim was a joy, (one of my favourites) and his multiple leaps were particularly spectacular.

 

Mayara Magri shone as the Shepherdess. She is really starting to stand out on stage.  Luca Acri was excellent as the Shepherd's son. Itziar Mendizabel also gave a strong performance as Paulina.

 

William Bracewell played Polixenes.  Not someone who has come to my attention before, but very impressive.

 

I agree with other comments on the Forum that Act 2 really could do with a bit of editing. I love the Corps and they were excellent, but there is too much of the same.  All that emotion in Acts 1 and 3, but a bit of a jolly in Act 2.  I know there is supposed to be a contrast - but keeping up some emotional tension a little more would be good.

 

The curtain calls were delightful, with Marianela pushing Thiago forwards to take a bow on his own.  

[alison]

49 minutes ago, JennyTaylor said:

We had Beatrix and Vadim as the young lovers

 

Most of the time

 

2 hours ago, RuthE said:

Sadly, de la Parra was taken ill today and was unable to conduct tonight’s performance #2. Tom Seligman’s debut scheduled for later in the run was brought forward.

 

Yes, I was disappointed to miss her.  Hoping it's nothing serious - she's due to conduct on the 24th as well.

 

5 hours ago, BristolBillyBob said:

 

Vadim Muntagirov is – and I’m aware this might not be a popular view – not always my favourite dancer,

 

Ah well, it takes all sorts, doesn't it?

[Sim]

BillyBob....Beatriz has already risen through the ranks in that she is now just one level below Principal.  I hope she achieves the final rise soon!

[BristolBillyBob]

5 hours ago, Sim said:

BillyBob....Beatriz has already risen through the ranks in that she is now just one level below Principal.  I hope she achieves the final rise soon!

Crikey that was quick then! Well, I fully expect her to be assoluta within two seasons in that case. 

 

(Note to self: when reviewing,  check programme on things like this!)

Edited February 16, 2018 by BristolBillyBob

[Sim]

Err not that quick....she has been in the company for eight years!  😊

[BristolBillyBob]

46 minutes ago, Sim said:

Err not that quick....she has been in the company for eight years!  😊

 

She was a soloist last time I attended the ROH, which I had thought wasn't that long ago, but I guess it must've been.

[Sim]

She was promoted to First Soloist in 2016. 

[BristolBillyBob]

11 minutes ago, Sim said:

She was promoted to First Soloist in 2016. 

 

Let's move on, shall we? The important point was that she was brilliant.

Edited February 16, 2018 by BristolBillyBob