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

[grey]

Sorry for the repetition, I seem to have posted at the same time as Geoff managed to upload the screenshot.

[penelopesimpson]

3 hours ago, Bruce Wall said:

I awoke this morning with the detail of Osipova and Shklyarov's triumph last night in my mind's ear.  It was as if a time bomb had detonated over night as some sort of international conspiracy celebrating theatrical ardor.  It was as if it's poison had been dropped from some zooming flight above.  Had I dreamed such?  NO.  They made their dancing - and I mean this as a compliment - look almost accidental, so intricate and toned was the detail of the total spontaneity of their drama.  Unceasingly it was shot through with the most vigorous gossamer.  It persuaded with the cogency of the aim of their most robust ball of atomic fire.  In effect it was - no, they were - gargantuan.  Their puissance was gutsy in its lusty punch.  Such combined construct could make any Shard appear paltry. 

 

In lesser hands MacMillan's ballet oft reveals its connecting dots.  Here the skeleton (for they were one) was not only fleshed; its eyes seared with moulton tears and the echos of their all too humane laughter - that vital element that allows any couple to sustain - seemed - no, WAS - perennial.  It resounded.  We cared because they did.  TOTALLY.  We too could obsess in the haunt of their air.  It almost didn't matter who danced in the background of their last scene's vision.  This dyad brought their unified soul front and centre.

 

That this was only Shklyarov's second take at Des Grieux was nothing short of profound.  . At the final curtain - again drenched - he didn't look exhausted - as he had so entirely on the first occasion - but rather fulfilled.  The delighted insolence of his inner child's attainment - that coming of age as t'were; that reaching of a rung he had long aspired to snatch - beamed through in that irrepressible smile.   it irradiated fervency with a obligingly tender wink.  His was - he made us know - a private victory.  It just happened here to be shared with a very fortunate British public.  We thank Kevin O'Hare for this privilege ... and, I suspect, Osipova as it could never have breathed without her.  Shklyarov clearly indicated this with the deep seated bow of his heart.  I thank him from the bottom of my own.  His triumph was ours.  His was a gift of the most significant order.  It transcended even the ennobling mount of this Des Grieux's magnanimous loom.  It was - in a word - exalted.  

 

 

Just wanted to pay tribute to your wonderfully eloquent prose,  Bruce Wall.  Last night, for me and I suspect many others, was ‘one of those nights, ‘ that will live long in my memory.  I loved every moment, every step and I loved being with an audience that seemed to be feeling every emotion with me.  Truly, great Art.

I spotted KOH in the Hall and didn’t want to interrupt as he was with friends but did manage to just say thank-you.  

 

[penelopesimpson]

11 hours ago, Sim said:

Penelope, I think you're referring to Marcelino Sambe  (Lescaut)?  Luca Accri was the Beggar Chief.

Yes, I am I In error bit it isn’t Marcelino I’m thinking of.  I was at a disadvantage last night as there was no cast sheet in my programme.  Could you help me out with the main roles?

 

Also forgot to mention Yasmine Naghdi.  For me what was so incredible about her performance, apart from the dancing, was the way she assumed the persona of a much older, knowing woman. Almost felt I was watching Zenaida Yanowsky.

[Amelia]

3 hours ago, Geoff said:

Just to add to the variety of opinions about last night...

 

Would you like to add your own opinion about last night, Geoff?

[Coated]

It's worth bearing in mind that some Twitter users love taking down well established performers for a laugh or in the firm believe that no one meets their stringent criteria other than a few selected up-and-coming performers and any old regie theatre production.

 

Last night's Manon was a joy for me, and I've decided that 2 Russians of this caliber wanting to perform this with the RB is actually a very lovely compliment to Macmillan.

 

Naghdi was wonderful as mistress, I loved her knowing looks and the humour she brought. I didn't get much of Sambe's character in this, he seemed too much of a nice boy for the role. 

 

Agree that the production is a little fusty and wouldn't mind if there could be just a bit less fabric all over the stage.

[jmhopton]

I find it difficult to find any superlatives that haven't been covered by others about last night's performance (especially Bruce's wonderful prose!) Like penelopesimpson I felt I was at a truly memorable great performance, one I will remember and treasure for many years. Everyone and everything seemed to come together to make for a magical unique evening. it was just a pity this brilliant performance wasn't captured on film so the whole world can see the Royal Ballet is one of the top companies (if not the top company) in the world. However, I'm sure that Lamb/Muntagirov will also do this. It's just a pity both could not be filmed.

I went to the stage door afterwards to see them and congratulate all concerned. there were about 25 of us waiting there. I asked Joseph Sissens for his autograph and he seemed a bit shy and embarrassed so I didn't like to ask him for a photo too. (Is there some sort of protocol whereby you don't approach corps de ballet for autographs or is he naturally shy?) Incidentally, his autograph was the smallest I've ever seen! Naghdi and Sambe were lovely as always. Yasmine very pleased she got 2 shows this time! When the 2 principles came out they looked tired but were very pleasant; smiling for photos and selfies and signing. Osipova seemed to have a bit of a cold. You wonder how she could have given such a performance if she was feeling a bit under the weather but I suppose the training kicks in. All in all a very pleasant end to a wonderful evening.

[capybara]

24 minutes ago, jmhopton said:

(Is there some sort of protocol whereby you don't approach corps de ballet for autographs or is he naturally shy?) 

 

No, no protocol. Just a lovely dancer and person behaving modestly.

[helpop]

10 hours ago, BeauxArts said:

I think it is a great thing to see such divergent responses to the same performance as we see above from Bruce Wall and Helpop! 

My only thought is that if last night did not move you, Helpop, I am not sure there is any possible pairing on the horizon that will. The search is on!

 

I certainly seem to be in the minority!

 

Maybe the Lamb-Muntagirov pairing could win me round, but I'm not sure if I want to attend all 3 hours of the production again at the cinema.  Although maybe the cinema front-row seat experience will improve it - as other commentators have noted, where you sit in the auditorium can highly impact your perception.

[BeauxArts]

I think that the cinema relay does improve the experience in relation to the close-ups etc. It is not even necessary to sit in the front row if you find it too close. Worth trying, I think!

[Lizbie1]

28 minutes ago, helpop said:

 

I certainly seem to be in the minority!

 

Maybe the Lamb-Muntagirov pairing could win me round, but I'm not sure if I want to attend all 3 hours of the production again at the cinema.  Although maybe the cinema front-row seat experience will improve it - as other commentators have noted, where you sit in the auditorium can highly impact your perception.

 

Helpop, I liked your post not because I agreed with everything in it (though I do agree with some things!) but because I really like it when fresh eyes look at the familiar. And my view is that Manon isn't a flawless masterpiece by any means - I sometimes wonder whether were the audience sent out with something less thrilling than the final pdd we'd take a different view of the ballet as a whole. As it is, it's pretty difficult to withstand the final five minutes, which for me serves to redeem Act 2, which I find in places both tedious and gratuitous.

 

There, I've said it!

[Mary]

4 minutes ago, BeauxArts said:

 

 

40 minutes ago, helpop said:

 

I certainly seem to be in the minority!

 

Maybe the Lamb-Muntagirov pairing could win me round, but I'm not sure if I want to attend all 3 hours of the production again at the cinema.  Although maybe the cinema front-row seat experience will improve it - as other commentators have noted, where you sit in the auditorium can highly impact your perception.

Only in the minority in terms of those who have posted their views on this forum, don't forget..plenty of  people don't post, and they tend not to when they feel more negative..

It is great to have a divergent view. Personally I am not entirely convinced by Manon, regardless of cast, so I can understand your view, helpop.

The cinema might be even worse if you don't much like the ballet, as it is all more vivid!

[alison]

On the other hand, a big screen can be quite overwhelming - witness Kobborg and Cojocaru's last one.  I think most of Trafalgar Square was in tears.

[penelopesimpson]

8 hours ago, Coated said:

It's worth bearing in mind that some Twitter users love taking down well established performers for a laugh or in the firm believe that no one meets their stringent criteria other than a few selected up-and-coming performers and any old regie theatre production.

 

Last night's Manon was a joy for me, and I've decided that 2 Russians of this caliber wanting to perform this with the RB is actually a very lovely compliment to Macmillan.

 

Naghdi was wonderful as mistress, I loved her knowing looks and the humour she brought. I didn't get much of Sambe's character in this, he seemed too much of a nice boy for the role. 

 

Agree that the production is a little fusty and wouldn't mind if there could be just a bit less fabric all over the stage.

You make an excellent point and I think we could all waste a lot of time trying to understand why this guy has written what he's written when the likelihood is that its the product of a strange mind.  I'm fond of campaigning for people to tell it how it is and oppose censorship, but this Twitter comment lacks either objectivity or balance as well as being deeply offensive.  It is one thing to give ones opinion and even to state that this or that dancer/production doesn't float your boat, but to pronounce that an artiste of the ability and stature of Osipova is 'over' is surely just sensationalist attention-seeking?  To use a cliche, it tells us far more about the writer than it does about the subject matter.

I really cannot stand La Fille Ma Gardee.  To me it is twee, borderline silly and lacking in any drama.  But that does not stop me understanding that it is a well-constructed piece that contains fine choreography  and there is much to enjoy within it. 

I am sure Ms. Osipova is far too intelligent to pay any attention to the ramblings of somebody who styles themselves 'Atilla.'

[penelopesimpson]

12 hours ago, Mummykool said:

Judging by the ecstatic and prolonged reception last night (they were standing in the balcony), one can only assume Attila was in the minority. Everyone around us were absolutely blown away by the whole company.

Fabulous, fabulous evening of acting, dance and emotion. 

I saw an interesting example of this last night.  I had front row Stalls Circle and the couple sitting in the stalls just below me were far more interested in their phones than the performance.  He put his on the ledge infront of me and when told ofF by the attendant was huffing and puffing.  She kept hers turned on on her lap and the light was distracting so I leaned forward and asked her to turn it off during the Overture.  Her man then spent fully five minutes of the first Act staring at me.  Each time the audience clapped, neither of them would respond.  Then, slowly, he unwrapped himself from her shoulders and started sitting bolt upright and then he clapped.  In Act 11 the phones were forgotten, they had their heads in the programme and at the end were shouting Bravo!  The magic of great Art at work!

[loveclassics]

Reading the different opinions on this thread is fascinating.  When I first saw Manon about 13 years ago I was bowled over by it but that may be due to the performers.  I was lucky enough then to see a more mature couple who had the danced the roles for so many years together that they transcended the material.  Seeing it again later with different dancers frequently showed the faults in the story and production: the misogyny, the heavy-handed humour, gratuitous sexual violence and Macmillan's tiresome bordello fetish. Why does he make his whores so repulsive?  How on earth do they make a living?

 

I can understand why this particular ballet is rarely staged by other companies.  In the US, the critics are not in favour: one eminent New York critic has referred to it more than once as 'a steamy little shocker'  and I don't think the Russian companies have  staged it since the first disastrous attempt years ago.  I can't remember which company it was but I did see one recorded clip of the bedroom pdd and it was hopeless.  The dancers seemed to be under the impression that they should ingratiate themselves with the audience to mitigate the other, more sordid, aspects of the story.  It's a reasonable approach I suppose but they shouldn't have to make up for the flaws in the rest of the ballet.

 

Nevertheless I think I will try to see the cinema transmission in May if I can get a ticket (and, more importantly, somewhere to park) in Brighton.  I now realise just how difficult it is for ballet-lovers outside London and I'm only in the South East!

 

Linda

[WoodlandGladeFairy]

I meant to add to my original post but I also felt that the Royal Opera House orchestra played Massenet's music so romantically, I love the various pieces used for the ballet score and in the second act the music was so dramatic, by the time Lescaut got shot it was heart in mouth stuff, I could feel the panic and 'OMG' moment in the music connect with the performance on the stage from Avis, Osipova, Sambe and Shklyarov.

 

Was pleased to get a nice curtain call photo (see below), at least for me of Osipova, Sambe and Shklyarov as well, a treasured memory.

 

I do have a weakness for like the period the ballet is set in and just love the costumes and I really like the second act, the Brothel scene is fine for me, I like the busyness and well as I mentioned previously when Shklyarov danced his solo I just could feel so much pain and despair at his character having seen a lady he is very much in love with be a totally different person, like she had moved on but he hadn't. Yasmine Naghdi was great as Lescaut's Mistress, wanted to like know more about her character's story, she was so convincing and made the dancing look effortless, she is one of my favourite dancers, such star quality. 

 

And well by Act III I was a bit teary, gets me everytime.

 

 

Am seeing an Encore screening with my sister and mum of Lamb/Muntagirov in Manon on 6th May which I cannot wait for as I saw them in a matinee in 2014 and just fell in love with Muntagirov, who was very much more a dreamy romantic Des Grieux compared to Shklyarov more earnest interpretation (which I also liked!), I hope that comes out on blu-ray, because it needs to go into my Muntagirov blu-ray collection!

Edited April 14, 2018 by WoodlandGladeFairy

[RobR]

13 minutes ago, WoodlandGladeFairy said:

.........I also felt that the Royal Opera House orchestra played Massenet's music so romantically, I love the various pieces used for the ballet score and in the second act the music was so dramatic, by the time Lescaut got shot it was heart in mouth stuff, I could feel the panic and 'OMG' moment in the music connect with the performance on the stage........

 

...............and just love the costumes and I really like the second act, the Brothel scene is fine for me, I like the busyness.....

 

I think this terrific review encapsulates all that those who really love Manon feel about this ballet. I should, by rights, have quoted the full review but that would have been otiose.

 

Many regular ROH attenders have remarked to me that Manon is their all time favourite ballet and I can understand why, particularly after reading the above review.

 

I'm not sure if Manon is my overall favourite; it is certainly in my top 5. One of the strengths of the production and choreography, in my opinion, are the number of roles available to RB dancers and the various opportunities they have to show how well they can dance, whether in a principal role or a less prominent one. This is no bad thing given the strength of the Company. 

[JohnS]

I was very interested to read the glowing testimony for Friday night’s performance and have a great deal of respect for the views posted.  I am delighted to have gone but was not as moved as others clearly were.  I recall the mesmerising thrill of Sylvie Guillem and Jonathan Cope where I found the arc of the performance vividly portrayed and Act 3 was utterly compelling, danced with complete abandon.  I think Francesca Hayward and Ed Watson came close in 2014 and I am very much looking forward to Hayward/Bonelli performances later this run.  I hope also to pick up a return ticket for Takada/Campbell 28 April which I think will be very special.  But for me from Friday night’s performance I will remember a fabulously presented De Grieux from Vladimir Shklyarov and Yasmine Naghdi’s mistress.  Natalia Osipova’s Giselle and Lise (and many others) have truly moved me and I count her Giselle as one of the most memorable performances I’ve ever seen.  And I admired much of her Manon but I wasn't as moved as I thought I might have been and as others clearly have been.  My loss I’m afraid and I am certainly looking forward to the Osipova/Shklyarov Marguerite and Armand.

 

[Richard LH]

8 hours ago, loveclassics said:

....the faults in the story and production: the misogyny, the heavy-handed humour, gratuitous sexual violence and Macmillan's tiresome bordello fetish.

The ballet depicts  sordid behaviour by some odious characters, (and is advertised with the customary "contains scenes of an adult nature" warning), but given the story, I don't see its handling  as gratuitous. Indeed some commentators have complained about  scenes being toned down from the past.  When you consider what is  commonly portrayed on TV these days (including numerous crime dramas where women are victims), and  in  films and some plays, Manon is pretty mild, frankly.  For me, any distaste about some aspects of the material is far outweighed by the beautiful, moving music alone.  Just  hearing  the Act 1 main entrance theme (Aubade: "Vive amour" from Chérubin) give me goose-bumps. Some of the music is so lovely, and sad, it  brings tears to the eyes, and that’s even without the visual interplay of  the lovely costumes and settings, the bustle and little vignettes of the various scenes, and of course  the fantastic dancing. 

Heavy-handed humour? Maybe in a few places, but  there are more  moments of  genuine, well judged  humour, as in the drunken dancing by Lescaut, and his mistress, which was  handled with great timing and panache by Campbell and Calvert on the  first night.  And Manon's delightful running jump onto the bed always seems to raise a laugh!  

8 hours ago, loveclassics said:

Nevertheless I think I will try to see the cinema transmission in May if I can get a ticket

I do hope you can get to see it again, and that you really enjoy it despite your reservations. 

[capybara]

10 hours ago, loveclassics said:

 When I first saw Manon about 13 years ago I was bowled over by it but that may be due to the performers. 

 

I don't think the Russian companies have  staged it since the first disastrous attempt years ago.  I can't remember which company it was but I did see one recorded clip of the bedroom pdd and it was hopeless.  

 

I too am trying to work out why I am reacting less emotionally now to Manon than I used to. For some reason, for me, the Guillem/Cope and Durante/Mukhamedov pairings were incredibly moving, right from their first encounter in Act 1 and, later, Cojocaru/Kobborg 'got to me' just the same. But, so far, while all this year's Manon casts have been fantastic, and some of their dancing has arguably been better than that of their predecessors, they haven't (yet) drawn me in in quite the same way.

 

I was beginning to think that my heart must have hardened. But yesterday's general rehearsal of Marguerite and Armand provided reassurance that that is not the case.

 

So whether something (chemistry?) has been missing in the performances of Manon so far, whether my perceptions have changed, or whether some other factor(s) are coming into play remains an interesting question for me.

 

By the way, loveclassics, the company you are thinking of is the Kirov/Mariinsky and Deborah MacMillan has said publicly that she withdrew permission for them to continue to perform Manon.

[JohnS]

Many thanks Capybara - it is so difficult not to talk about yesterday's General Rehearsal!

[RobR]

I acknowledge and appreciate the earlier concerns expressed about the depiction of women in Manon and the proposition that the C18 scenario should be updated to reflect contemporary mores. 

 

Developing this concern I worry about the health and hygiene issues raised by Armand kissing his tuberculosic lover on the lips and Marguerite failing to wash her hands after holding them to her mouth following her numerous coughing fits. 

 

Should Ashton’s ballet be updated, should her maid appear earlier with a bowl and towel or should the cast list carry some sort of warning?

[aliceinwoolfland]

Glowing review of Manon which compares Osipova, Nuñez and Hayward:

 

https://www.theguardian.com/stage/2018/apr/15/manon-royal-ballet-hayward-osipova-nunez-observer-review

[MAB]

1 hour ago, capybara said:

 

I too am trying to work out why I am reacting less emotionally now to Manon than I used to.

 

I feel the same and I think it may be because the music has slowed down.  The bedroom pas de deux used to be a whirlwind of passion, steps were sometimes fluffed and costumes got ripped, indeed there was almost a kind of clumsiness to it but it looked so real, literally breath taking.  To me it now seems over careful.

[Lizbie1]

28 minutes ago, RobR said:

I acknowledge and appreciate the earlier concerns expressed about the depiction of women in Manon and the proposition that the C18 scenario should be updated to reflect contemporary mores. 

 

Firstly, I don't think anyone has actually suggested this. Secondly, my problems with Act 2 are more to do with MacMillan's (1970s-era) reactions to and chosen emphases taken from the Abbe Prevost's story. And thirdly, it doesn't take a genius to notice that MacMillan was fond of extended brothel scenes and prominent roles for tarts (FWIW I think there is more legitimacy to this in Manon than in Mayerling or R&J), and to question this pattern.

 

Disliking something in a ballet doesn't necessarily equate to a suggestion that that thing be removed. Plenty of people don't have a problem with the above aspects of Manon; others don't like them but are prepared to overlook them for a variety of reasons; others still may find that they inhibit their desire to see Manon sufficiently that they vote with their feet. None of these amount to censorship.

Edited April 15, 2018 by Lizbie1

[Richard LH]

20 minutes ago, aliceinwoolfland said:

Glowing review of Manon which compares Osipova, Nuñez and Hayward:

 

https://www.theguardian.com/stage/2018/apr/15/manon-royal-ballet-hayward-osipova-nunez-observer-review

Wow, what a great review! Each of these 3 ladies are bringing their own superb interpretive and dancing skills to the role. Looking forward even more to seeing how others thrill us now (Takada live, and Lamb at the cinema) ....

[Lynette H]

15 hours ago, loveclassics said:

.

 

I can understand why this particular ballet is rarely staged by other companies.  .

 

Manon has been very widely staged. It may be one of his most performed works.  In Europe it has been performed by Paris Opera Ballet, La Scala,  Dresden Semperoper, and Royal Danish Ballet.  In the US, it's been performed by Houston Ballet and American Ballet Theatre.  It's been performed by The Australian Ballet.  It seems to pop up all over the place - It was being staged in Mexico City in the  autumn of last year.  

[toursenlair]

18 minutes ago, Lynette H said:

 

Manon has been very widely staged. It may be one of his most performed works.  In Europe it has been performed by Paris Opera Ballet, La Scala,  Dresden Semperoper, and Royal Danish Ballet.  In the US, it's been performed by Houston Ballet and American Ballet Theatre.  It's been performed by The Australian Ballet.  It seems to pop up all over the place - It was being staged in Mexico City in the  autumn of last year.  

also by Vienna State Ballet, Bavarian State Ballet, National Ballet of Canada, Hungarian National Ballet, National Ballet of Japan, Ballet of Santiago (Chile) ...

[penelopesimpson]

2 hours ago, RobR said:

I acknowledge and appreciate the earlier concerns expressed about the depiction of women in Manon and the proposition that the C18 scenario should be updated to reflect contemporary mores. 

 

Developing this concern I worry about the health and hygiene issues raised by Armand kissing his tuberculosic lover on the lips and Marguerite failing to wash her hands after holding them to her mouth following her numerous coughing fits. 

 

Should Ashton’s ballet be updated, should her maid appear earlier with a bowl and towel or should the cast list carry some sort of warning?

Brilliant post.  And surely Rudolph should make sure the audience are aware he is extracting a clean syringe from a cellophane packet?  Perhaps a needle exchange could be worked in to the plot?!

 

Sigh.

[Bluebird]

 

 

15 hours ago, loveclassics said:

 

 

I can understand why this particular ballet is rarely staged by other companies.

 

34 minutes ago, Lynette H said:

 

Manon has been very widely staged. It may be one of his most performed works.  In Europe it has been performed by Paris Opera Ballet, La Scala,  Dresden Semperoper, and Royal Danish Ballet.  In the US, it's been performed by Houston Ballet and American Ballet Theatre.  It's been performed by The Australian Ballet.  It seems to pop up all over the place - It was being staged in Mexico City in the  autumn of last year.  

 

11 minutes ago, toursenlair said:

also by Vienna State Ballet, Bavarian State Ballet, National Ballet of Canada, Hungarian National Ballet, National Ballet of Japan, Ballet of Santiago (Chile) ...

 

Not to forget English National Ballet. They staged it some years ago and are about to do so again next season.

[RuthE]

8 hours ago, RobR said:

Developing this concern I worry about the health and hygiene issues raised by Armand kissing his tuberculosic lover on the lips and Marguerite failing to wash her hands after holding them to her mouth following her numerous coughing fits.

 

Watching the first night of the Royal Opera's Lady Macbeth of Mtsensk on Thursday, for some reason I was struck by the fact that nobody ever washed their hands after handling dead rats, nor indeed partially decomposed human body parts...

 

(Aaaaand back on topic...)

[Scheherezade]

48 minutes ago, RuthE said:

 

Watching the first night of the Royal Opera's Lady Macbeth of Mtsensk on Thursday, for some reason I was struck by the fact that nobody ever washed their hands after handling dead rats, nor indeed partially decomposed human body parts...

 

(Aaaaand back on topic...)

 

And I am already more than a little concerned about issues of hygiene in the scheduled next run of Frankenstein ...

[Odyssey]

11 hours ago, Richard LH said:

Wow, what a great review! Each of these 3 ladies are bringing their own superb interpretive and dancing skills to the role. Looking forward even more to seeing how others thrill us now (Takada live, and Lamb at the cinema) ....

Not forgetting there is Hamilton and Cuthbertson too.