The Royal Ballet: Manon, London, March-May 2018

[annamk]

For me, last night was terrific. Not perfect, but I didn't go expecting it to be so given that it was Shklyarov's debut, I think not only in Manon but in any MacMillan. The opening Des Grieux solo, so exposing, was decently enough delivered (I've seen many more experienced dancers RB dancers wobble horribly through all the arabesques) but with some uncharacteristically heavier landings. Shklyarov has one of the most beautiful lines in ballet and those Des Grieux solos in both Acts 1 & 2 gave him the opportunity show off them off which he did to great effect. The first pdd was slightly hesitant but I thought the bedroom pdd (end of Act 1) was much better executed and any nerves seemed to have been cleared out. The final pdd didn't feel as though all the choreography came off entirely as it should - a couple of places appeared slightly fudged but it didn't matter to me. Shklyarov is always committed to the character on stage & yesterday I found him so intense I barely looked at anyone else, apart from Osipova. I loved Osipova everything she did was quite brilliant and her act 2 brothel solo was outstanding. They seemed to have great chemistry, without which it's impossible to make any sense of the story's trajectory. Naghdi was for me an unexpectedly excellent Mistress, great characterisation and I don't remember seeing those solos danced more convincingly but Sambe's Lescaut was not a patch on Hay (albeit at the rehearsal). The audience response was enormously warm and the two of them looked very happy & relaxed at the calls.

[bridiem]

8 minutes ago, annamk said:

 Naghdi was for me an unexpectedly excellent Mistress, great characterisation and I don't remember seeing those solos danced more convincingly but Sambe's Lescaut was not a patch on Hay (albeit at the rehearsal).

 

Agree very much about Naghdi, and I can't compare to Hay (yet) but I thought (compared to anyone) that Sambé was brilliant; even made me feel some sympathy for Lescaut at his demise.

[BMC]

I think I am definitely going to be a minority of one here - I thought Osipova was outstanding (but admit to being a fully paid up fan!).  She was transformed from the last run and, as with all her performances, she always seems to find extra details and show them with great clarity eg the way she she panicked a bit in the pas de trois and called to her brother to 'get him off me'.  I agree that Shklyarov was quite tentative to start and a bit unsure of some of the partnering, but he is such an elegant dancer, a pleasure to watch. Think I will have to beg or steal a ticket for next week to see him again when presumably he will be more at ease. However, I was really disappointed in Sambe - usually he is one of those dancers that makes me perk up whenever he comes on stage but I don't feel he made much impact as Lescaut. I didn't feel any sense of menace or slyness, while the 'drunk dance' for me fell completely flat. Likewise I thought Yasmine danced exquisitely (as always) but her part in the ballet just didn't come alive for me as it has done with other dancers. Others have commented on the 'busyness' that is going on on the sidelines but that seemed to reach epic proportions at times last night and I wanted to shout out tone it down a bit - think they are the most hyperactive beggars I've ever seen!

 

Having said all that, I had a lovely time! Manon was my first ballet at Covent Garden (also 40 years ago) and it will always hold a very special place in my heart. Looking forward to seeing other casts and hopefully seeing this one again to see if my impressions remain the same.

[Vanartus]

Naghdi's big solo in Act 2 was incredible. Technically perfect but it actually meant something. She managed to convey somehow a sad/angry/frustrated complexity to the character I'd never really noticed before. And I thought the animosity between her and Manon was well conveyed by both dancers actors. 

[Vanartus]

PS I was initially "worried" about Sambe but I thought he did grow quickly into the role - and he and Osipova worked well together.

[Mary]

45 minutes ago, annamk said:

. The opening Des Grieux solo, so exposing, was decently enough delivered (I've seen many more experienced dancers RB dancers wobble horribly through all the arabesques) but with some uncharacteristically heavier landings. Shklyarov has one of the most beautiful lines in ballet and those Des Grieux solos in both Acts 1 & 2 gave him the opportunity show off them off which he did to great effect.

 

I love that solo ( which always reminds me of a v similar moment in Onegin)- how true that there are often many wobbles, and no wonder; I am interested to know who was the best exponent of this tricky piece of choreography: for my money probably Johann Kobborg.

 

I was so sorry to have missed this, so thanks for all the really interesting reviews coming in.

[Sim]

I agree with much of the above.  I knew, from other times I have seen him, that Vladimir Shklyarov would dance beautifully and be naturally passionate and intense, but wow…he took my breath away. 

The first pdd was indeed a bit tentative, but in a way that also reflected this young man falling in love, probably for the first time, not quite knowing what to do about it but show his joy.  I love how he beamed through his first solo, so happy for having found this feeling deep inside him.  This was different from the usual yearning type of solo that is portrayed here.  This was pure joy.  Yes, there were a few heavy landings, and a couple of slight wobbles,  but as others have said about the 32 fouettees, who cares?  He pierced my heart immediately, and the narrative made much more sense from then on in from Manon’s point of view.  I could totally understand why she fell for him, and why she ends up sacrificing everything to be with him.  Shklyarov started relaxing after the first couple of scenes, and just got better and better.  I haven’t seen that depth of passion in this role for a long time.  I just couldn’t believe this was a debut.  He convincingly conveyed joy, love, anger, desperation and despair in equal measure, and by his final silent scream at the end, I was blown away.  I am sure their next show will be even better.

I liked Natalia Osipova’s interpretation of the role last time around, and this time I like it even more.  She has brought more to it, and as Dave said above she is excellent at portraying Manon’s inner conflict and turmoil;  when she feels those cold diamonds against her warm skin, you can almost see a shadow crossing her face.  Throughout her pdt with Lescaut and GM, you can see that she is trying to be what those men want her to be, but her disgust is evident.  She keeps touching her necklace to remind herself exactly why it is that she is doing this.  The same in Act 2;  I never got the feeling that she revels in her sexual allure….she tries, but her natural, default position is the young girl in love with a good man, who knows deep down that she is doing the wrong thing but, for a while, can’t quite help it.   The final pdd in the swamp was a bit slow and not as technically risky as others I have seen, but again I didn’t mind because my heart was too busy bleeding for this tragic couple.  I don’t always feel sorry for Manon at the end of the ballet, but last night I did. 

I thought Yasmine Naghdi’s Mistress was superb.  Amazing technically, and a very nuanced, intelligent interpretation.  I loved all those little extras;  watching her through the binoculars, her reaction at the beginning of Act 1 when Manon first arrives and the men are all attracted to her was wonderful:  she touched her hair, she smoothed her dress and glared….a bit like Larisch in Mayerling, this was a young usurper turning up and threatening her womanhood.   Throughout, her contempt for Manon was plain to see, as was her contempt for the whole situation.  Someone said to me last night that although they loved her dancing, they thought that she is naturally too much of a lady to get down and dirty with the whores.  I quite liked this;  it brought something different to the role, almost as if she shouldn’t really be there but circumstances have reduced her to a ‘lower’ state of being.  During her Act 2 solo, at one point her arms were already turning into beautiful swans’ wings;  I can’t wait for that debut!

I’m afraid I wasn’t “feeling” Marcelino Sambe’s Lescaut.  Yes, his dancing was excellent, but I just didn’t get much characterisation from him.  Maybe it will come after a couple more performances. 

Gary Avis as M. GM and Bennett Gartside as the Gaoler were a pair of evil, nasty characters, and totally convincing. 

I am glad I am seeing many Manons because there is always so much going on in the background that it is impossible to get the whole at only one or two viewings.  Things have definitely toned down over the years, but it is still so much fun to watch all the background shenanigans in Act 2.  As a woman, I didn’t find anything offensive whatsoever.   What I found was a total performance, where every single person on that stage had a story and a character, which is just what MacMillan wanted. 

I missed opening night so can’t compare last night with that, but I don’t think I would want to…..I find Manon one of the hardest ballets in which to make comparisons, as all the roles are so open to interpretation.   Last night was, for me, a great start.

[bridiem]

10 minutes ago, Mary said:

 

I love that solo ( which always reminds me of a v similar moment in Onegin)- how true that there are often many wobbles, and no wonder; I am interested to know who was the best exponent of this tricky piece of choreography: for my money probably Johann Kobborg.

 

I was so sorry to have missed this, so thanks for all the really interesting reviews coming in.

 

Yes, Kobborg was brilliant. But Dowell's perfect imprint is always on this solo. (Not that I saw the première.)

[Anna C]

1 hour ago, Sim said:

Bruce, my like was to do with Richard's comment about Yasmine!

 

Ditto!

[MAB]

10 hours ago, alison said:

 

That's where you need a ballerina with the acting chops to make Manon's flightiness and change of heart convincing.

 

Chops? 

[RuthE]

35 minutes ago, MAB said:

 

Chops? 

 

https://www.merriam-webster.com/dictionary/chops

 

Definition #4: expertise in a particular field or activity - "acting chops"

[jmhopton]

Well... I was just blown away with last night; still haven't really recovered. I was nearly in tears by the end and still very emotional when I phoned my husband after the performance (Have to stay overnight for evening performances). If that was Shklyarov's debut performance can't wait to see his next one (which I am lucky enough to have a ticket for). I thought Osipova gave a great performance too, very nuanced and passionate. Like earlier reviewers I too thought the 1st act transition between being passionately in love with De Grieux and fallsing for the sleazy 'charm' of Monsieur GM a bit too rushed to be credible but you really saw her struggle with her emotions. She had enough of her brother in her to be seduced by the material trappings of wealth but unlike him she had to sell her own body to achieve it and the struggle definitely showed. I was lucky enough to have a stalls circle seat fairly close to the stage and not too expensive (£36 I think) so could see virtually everything. I found this works well for Macmillan ballets as I think it is better to get up close for them as there is so much going on both in the corps and personal emotions of the principals it is better to have this and sacrifice not seeing the occasional move in the corner of the stage. When Osipova was saying her 'farewell' to De Grieux lodgings she sat on the bed for at least a couple of minutes, rather than just touching the curtains to highlight her struggle. Similarly earlier when she had pulled up her dress to entice him she quickly pulled it down again and physically shrank away from him as if she'd realised what she had done. In the last act she spat on the gaoler when she realised he was dead. There are many more details I'm looking forward to see at the next appearance. Great performance by Sambe after what seemed to me a bit of a shaky start; I thought the landings of some of his first jumps didn't seem quite right but was he making his debut too? Naghdi's performance too got going more for me in the second act when I thought she came into her own more. In the first act I kept seeing Laura Morera's performance as the mistress which I think is pretty definitive. Plaudits too for Gary Avis as Mr GM and Bennet Gartside's gaoler (though I think on balance I prefer Gary Avis' interpretation.) I thought the final pas de deux was terrific (though it might be by that time I was so emotionally wrung out I would have cried if they'd danced a minuet (!)) Shklyrov's final silent scream was so heartfelt I nearly screamed with him! An incredible performance and one I felt privileged to attend.

[alison]

3 hours ago, zxDaveM said:

My take on on it was that I thought Ms Osipova conveyed that revulsion of GM - but oh, look at the jewels, feel that fur - conundrum brilliantly last night. (Binoculars definitely helped there).

 

Yes, I certainly noticed the revulsion.  It's a question of whether the avarice - if such it is - prevails over it.

 

2 hours ago, bridiem said:

I did think that Osipova did this brilliantly, zxDaveM; my problem is with the character/behaviour! To be seduced SO quickly, in spite of 1) Des Grieux and 2) Monsieur G.M. - ?! I know an answer to this would be - she's poor, and the alternative is a convent. But (in the age old argument) not all poor women would react/behave in this way.

 

Exactly.  So the question is, what makes Manon behave in that way, when others might not?  ("and the alternative is a convent" suggests to me a very 21st-century attitude: back in the 18th(?) century, of course, this would have been seen as a highly acceptable - and even far preferable - alternative to high-class prostitution.)  Although the ballerina dancing the role may not have much standalone dancing in which to develop the character, as I indicated above she does need the dramatic intelligence to take us through, well, I won't call it a story arc exactly, it's more like an undulating thread connecting all her actions and the different things which happen to her, in such a way that it makes dramatic sense, even allowing for Manon's inconsistency and inconstancy

[bridiem]

7 minutes ago, alison said:

Exactly.  So the question is, what makes Manon behave in that way, when others might not?  ("and the alternative is a convent" suggests to me a very 21st-century attitude: back in the 18th(?) century, of course, this would have been seen as a highly acceptable - and even far preferable - alternative to high-class prostitution.)  Although the ballerina dancing the role may not have much standalone dancing in which to develop the character, as I indicated above she does need the dramatic intelligence to take us through, well, I won't call it a story arc exactly, it's more like an undulating thread connecting all her actions and the different things which happen to her, in such a way that it makes dramatic sense, even allowing for Manon's inconsistency and inconstancy

 

Completely agree about the convent, Alison - it would have been seen by the family at least as a safe place, where a young woman would be adequately provided for in the absence of other possibilities (or a husband). But for Manon, it may not have been her favoured option. What you say about standalone dancing is interesting - maybe the ballet is a solo (for Manon) short! Where we could learn a little more about her as an individual, rather than simply through how she relates to others.

[Shade]

What an enjoyable evening. But I kept asking myself - who could walk away from Shyklarov? 

Not me!

Brilliant cast all round - but for me Sambe seems too youthful to play Lescaut. He is an older brother to a very young Manon in the novel.

The jealousy between Manon and the Mistress was so real. I think a gamzatti/Nykia face off between these would be great.

wish I had booked for next Friday now as I expect the characterisation will be even more developed. 

 

[bridiem]

5 minutes ago, Shade said:

What an enjoyable evening. But I kept asking myself - who could walk away from Shyklarov? 

Not me!

Brilliant cast all round - but for me Sambe seems too youthful to play Lescaut. He is an older brother to a very young Manon in the novel.

The jealousy between Manon and the Mistress was so real. I think a gamzatti/Nykia face off between these would be great.

wish I had booked for next Friday now as I expect the characterisation will be even more developed. 

 

 

I did initially think that Sambé looked very young for Lescaut; but (not knowing the novel) I quickly came to see him as a scheming young fraudster willing to use his pretty (and pretty willing) sister for his/their purposes. But in the end, both were out of their depth.

[Jane S]

18 minutes ago, bridiem said:

 

 What you say about standalone dancing is interesting - maybe the ballet is a solo (for Manon) short! Where we could learn a little more about her as an individual, rather than simply through how she relates to others.

 

Maybe it literally is short of that solo - the prologue, cut before the first night, in which Manon was shown "dreaming of rising to wealth and success"? (according to D&D)

[capybara]

2 hours ago, bridiem said:

 

Yes, Kobborg was brilliant. But Dowell's perfect imprint is always on this solo. (Not that I saw the première.)

 

I'm hoping that Muntagirov will again not only completely nail the opening solo  but also offer us the kind of wonderful  realisation of Des Grieux we had from him in 2014.

[Sim]

I am sure that Vadream will be even better this time;  last time he was already superb!!

[capybara]

Thank you, everyone, for all your 'reviews' of the Osipova/Shklyarov/Sambe/Naghdi/Avis/Gartside line- up last night. 

So much has already been said that I will just add a little from my perspective:

• Shklyarov's energy and ardour were absolutely captivating - so much so that the ballet almost became his story (loved him, rough edges and all)
• Osipova was especially strong in dance and expression (in turn calulating, seductive  and 'come hither' all round) when 'with' Monsieur GM and in her desperate last moments but neither her face nor her movement sang out her love for Des Grieux sufficiently for me - the earlier pas de deux felt jerky and rushed on this first showing
• Sambe surprised me - yes he is young and was little too short for both Manon and his Mistress but his elevation and panache gave character to Lescaut and aspects of his acting (notably at the end of Act 2) were very effective indeed
• Naghdi, cast against type perhaps, was a revelation once again: superb dancing (she held the audience's attention in the Mistress's Act 2 Solo which can easily become lost with all the stage business going on around her) and tremendous characterisation
• Avis and Gartside - terrific as always
• some of the corps seemed to have toned down their 'acts' compared with the opening night

Can't wait to see more casts.

[Scheherezade]

3 hours ago, Mary said:

 

I love that solo ( which always reminds me of a v similar moment in Onegin)- how true that there are often many wobbles, and no wonder; I am interested to know who was the best exponent of this tricky piece of choreography: for my money probably Johann Kobborg.

 

 

Dowell. Unquestionably.

[BeauxArts]

I would be perfectly happy just to watch Shkylarov post a letter, but since we are discussing his debut as Des Grieux, I will simply say that I thought it was extremely good and with huge potential for greatness on the 13th. Given he had barely 4 weeks to prepare - the role was not his until the extent of Hallberg's injury was confirmed - and that he had not danced a lead role in any MacMillan ballet before (his resume says he was a beggar when the Mariinsky had a brief "fling" with Manon under Vaziev (I think)) and he was partnering the most mercurial ballerina at the RB, I think it was very fine indeed.  I thought the company acquitted themselves very well, but for anyone who ever saw Stephen Jefferies in the role of Lescaut I am afraid that Sambe was just not on the same page... I think it needs maturity and depth: he will get there no doubt, but someway off at the moment. 

[BeauxArts]

Capybara - you have le mot juste: Shklyarov's ardour: yes indeed that is what he has! Thank you.

[alison]

1 hour ago, capybara said:

 

I'm hoping that Muntagirov will again not only completely nail the opening solo  but also offer us the kind of wonderful  realisation of Des Grieux we had from him in 2014.

 

Cross him with Ed Watson, and you'd probably have my ideal Des Grieux

[Sim]

11 minutes ago, BeauxArts said:

 but for anyone who ever saw Stephen Jefferies in the role of Lescaut I am afraid that Sambe was just not on the same page... I think it needs maturity and depth: he will get there no doubt, but someway off at the moment. 

David Wall would agree with you there!  See what he had to say about Manon and creating the role of Lescaut in the interview I did with him back in 2005 (there's also a lovely photo of him as Lescaut).

David Wall interview.pdf

[BeauxArts]

Thank you Sim for sharing your interview with that great artist. 

[WoodlandGladeFairy]

Wonderful reading so many lovely reviews of Osipova/Shkylarov, I will be seeing this pairing on 13th April and it has made me super excited!!!!!

 

Shkylarov is not a dancer I know much of but thanks to the balletco forum discussion I feel I have a good idea and can't wait to see him live.

 

I'll never forget seeing Manon with Vadim Muntagirov as Des Grieux in 2014, such beautiful lines and really good with Sarah Lamb (so you can imagine I was delighted that they will be the pair performing for the Royal Ballet cinema relay, I booked encore tickets for that, so will be fun also to compare casts etc.)

[Xandra Newman]

I went to see Manon last night and really liked Osipova dancing with Shkylarov (never seen him dance before). He was rather hesitant at first and nerves did show. Yes it was his debut but I think as a Principal it shouldn't really show at all. I couldn't take my eyes of Yasmine Naghdi, dancing as Mistress, whenever she was on stage. Every fine detail registered and, as a member of the audience (sitting close to the stage), I could really see and feel what was going through her mind. Her absolute contempt for the "intruding" Manon was so clear and visible and I was totally mesmerised by all the fine details of Yasmine's portrayal. She was telling us her story too, alongside Manon telling us hers. Fascinating it was!

[capybara]

35 minutes ago, Xandra Newman said:

. I couldn't take my eyes of Yasmine Naghdi, dancing as Mistress, whenever she was on stage. Every fine detail registered and, as a member of the audience (sitting close to the stage), I could really see and feel what was going through her mind. Her absolute contempt for the "intruding" Manon was so clear and visible and I was totally mesmerised by all the fine details of Yasmine's portrayal. She was telling us her story too, alongside Manon telling us hers. Fascinating it was!

 

Completely agree. In fact I've never seen anything like it from Lescaut's Mistress.

[Sim]

Welcome to the forum, Xandra!

[Don Q Fan]

A few curtain call pics from the Thursday 5 April 2018 performance of Manon - It's hopefully evident who is who!

 

Osipova/Shklyarov

 

Ensemble 

 

The one and only Gary Avis as Monsieur GM

 

Bennet Gartside and Melissa Hamilton

 

Yasmine Naghdi and Marcelino Sambe

 

Sambe/Osipova/Shklyarov

 

Osipova/Shklyarov

[Rob S]

1 hour ago, Don Q Fan said:

A few curtain call pics from the Thursday 5 April 2018 performance of Manon - It's hopefully evident who is who!

 

Osipova/Shklyarov

 

They're great, what kind of camera are you able to get away with for photos of the curtain call? They don't look like phone pics!!

[Don Q Fan]

4 minutes ago, Rob S said:

 

They're great, what kind of camera are you able to get away with for photos of the curtain call? They don't look like phone pics!!

Canon bridge with 40x zoom and it weighs a bloomin tonne need a lighter one!