The Royal Ballet: New Swan Lake Production, Summer 2018

[Xandra Newman]

It's such a great shame Ball wasn't partnered with Naghdi. The Kish/Naghdi partnership produced no chemistry whatsoever and from what other posters say the Ball/Osipova partnership in SL didn't work. Management missed a great opportunity to partner Naghdi with Ball again, their partnership would have worked beautifully and just so much better for obvious reasons. 

[bridiem]

On ‎20‎/‎05‎/‎2018 at 09:18, Rob S said:

If the spell says they are only maidens at night shouldn’t the sets of act two and four be daylight rather than moonlit? Or was the spell cast during a holiday in Australia, did Rothbart fail to state the curse applies to Odette’s local time wherever she is in the world !? 

 

I often forget that we aren't actually watching the swans! We only see the maidens, who are swan-like to indicate their terrible situation/the spell under which they are living. In fact, the synopsis for the new production encourages that confusion - for the last act, it says 'the swans anxiously await Odette's return' and that she is 'doomed to remain a swan forever'. In fact she's doomed to remain under the spell forever, not to remain a swan forever. The only time we see her (or anyone else!) as a swan is when she glides off stage at the end of Act 2. (Though even the maidens seem to pretty well under Rothbart's control, it has to be said. They don't seem to be able to go off shopping or getting their hair done or other such maidenly pastimes.)

[RuthE]

6 minutes ago, bridiem said:

(Though even the maidens seem to pretty well under Rothbart's control, it has to be said. They don't seem to be able to go off shopping or getting their hair done or other such maidenly pastimes.)

 

Not so easy to do so in the middle of the night...

[Timmie]

Wow, yesterday’s matinee! I complained about feeling a lack of emotion after the opening night performance but yesterday I think I may have got too much emotion to handle. Naghdi was amazing, I was misty eyed in Act 2 and tears rolling down my face during  Act 4. I left the theatre so sad and yet so happy at being so sad. This is exactly what I want from a Swan Lake 😥😃.

For me the special thing about Yasmine as a ballerina is her arms and as an actor her emotional projection. In Act 2 she just rippled across the stage and you were so happy for her in her moment of new-love and potential release from the spell but sad because you know what’s coming.

In any Swan Lake, Act 3 is just a blast of fun. Odile is a party girl at heart and just wants to have fun. Yasmine was a great Odile, and yes a big wobble in the fouettes, but she was really going for it so we didn’t care a jot, a bit of extra jeopardy added to the excitement!

Act 4 is where I really didn’t get it on opening night but yesterday I really did. When Odette first goes for the rock and is blocked by the swan maidens, so moving and then the rest of the act just builds on this. The very end could maybe do with a minor tweak ( I don’t know what), but if it’s not changed I will still go again and again.

A few random thoughts: Benjamin Ella superb as Benno, I very much liked Tierney Heap in the PdT, I prefer this version’s four cygnets with the extreme head-nodding dropped and I love the princesses’ tutus.

[alison]

2 hours ago, Blossom said:

Do we assume that the pique turns were a statement of solidarity after the Copeland furore or just mixing it up a little?

 

I really can't imagine that the thought would have entered her head ...

[Xandra Newman]

2 hours ago, Blossom said:

Do we assume that the pique turns were a statement of solidarity after the Copeland furore or just mixing it up a little?

 

Pique turns are a safe option for many ballerinas who do not want to (perhaps for various reasons) expose themselves doing the demanding (and exposing) fouettes. Osipova may have had her own personal reason(s) why she opted to do pique turns instead.

That's why I so admired Naghdi, daring to go for those fouettes during her debut (which - when beautifully executed - I do not consider to be a circus act- but a demonstration of skill, control and self-confidence).

[Rob S]

2 hours ago, Blossom said:

Do we assume that the pique turns were a statement of solidarity after the Copeland furore or just mixing it up a little?

 

As it was a bank holiday I expect it’s more likely that fouettés had to be cancelled due to engineering work and a replacement pique service put in their place. 

[Lizbie1]

A few further thoughts from me.

 

I thought Osipova was terrific and didn't see that she was in anything other than very good form. As for the choice of manege over fouettes, I think she's been watching Plisetskaya. A tribute from one great Bolshoi ballerina to another, if you like!

 

Ball partnered very well and I didn't perceive the lack of "chemistry" that others have. After Muntagirov's sensational first night, I think we've had the bar set rather high for other Siegfrieds in terms of virtuosity and otherwise, but Ball's solo in the transition between Acts 1 and 2 made a very powerful impression, more so than that of either Kish or Muntagirov.

 

Having been unsure about Act 4 on opening night, I've been progressively completely won over. The final vision of Odette, face on, while Siegfried carries her dead form is immensely strong and I don't feel it jars with the music. (You can be too literal about such things: Sleeping Beauty ends firmly on a minor key - which is quite rare for a long work - but no-one expects anything other than a happy ending.)

 

My one quibble with the ending is how long Siegfried spends knocked out at the front of the stage - it makes him look far from heroic when there's all this stuff going on around him and he's having a nap while everyone else gets on with it. I don't know how this can be resolved, though.

 

One other thing: has anyone else perceived a brief reference to the Rose Adagio during Siegfried's Act 3 waltz with the princesses?

[Blossom]

12 minutes ago, Rob S said:

 

As it was a bank holiday I expect it’s more likely that fouettés had to be cancelled due to engineering work and a replacement pique service put in their place. 

 

🤣🤣🤣🤣🤣🤣 best answer ever!

[capybara]

5 minutes ago, Xandra Newman said:

That's why I so admired Naghdi, daring to go for those fouettes during her debut (which - when beautifully executed - I do not consider to be a circus act- but a demonstration of skill, control and self-confidence).

 

And, I think, the fouttes are an expression of Odile's character through her whole body which the pique manege didn't do to quite the same extent for me. I recall the manege being the default position of Bolshoi ballerinas such as Bessmertnova as they don't put quite the same strain on the one leg

 

3 minutes ago, Lizbie1 said:

but Ball's solo in the transition between Acts 1 and 2 made a very powerful impression.......

 

This eloquent soliloquy can be another  wonderful example of a dancer's body speaking to us about mood and moving the story on  - beautifully and yearningly in the case of Muntagirov, Bracewell and Ball; or not at all in the case of Kish.

 

[Geoff]

1 hour ago, bridiem said:

I often forget that we aren't actually watching the swans! We only see the maidens, who are swan-like to indicate their terrible situation/the spell under which they are living. In fact, the synopsis for the new production encourages that confusion - for the last act, it says 'the swans anxiously await Odette's return' and that she is 'doomed to remain a swan forever'. In fact she's doomed to remain under the spell forever, not to remain a swan forever. The only time we see her (or anyone else!) as a swan is when she glides off stage at the end of Act 2. 

 

...which was one of the transcendent moments from Osipova last night. I actually made a noise - of shock, surprise and then delight - as I thought I saw her transform into a swan in front of us (apologies to those sitting near me for my involuntary sound!)

[alison]

19 minutes ago, Lizbie1 said:

My one quibble with the ending is how long Siegfried spends knocked out at the front of the stage - it makes him look far from heroic when there's all this stuff going on around him and he's having a nap while everyone else gets on with it. I don't know how this can be resolved, though.

 

Oh yes, that too.  Rather too Daphnis-like, to my mind.  And why doesn't he actually follow Odette and stop her from throwing herself in the lake?  He's not knocked out at that point, and it seems a bit ...meh, as Ashley Bouder would say.

[annamk]

I too had mixed feelings about last night. 

 

Even if I don't love all of Osipova's interpretative choices, I always find her interesting to watch because she brings something different to her performances. These days they seem to have acquired a slightly edgy, more wild feel, it's not all about a beautiful classical line with everything exactly in place. Last night her swan was certainly more swan like than any of the others ! 

 

I enjoyed the Act 2 pdd, I thought Osipova and Ball looked good together and her dancing was so secure he barely needed to be there to partner her.

I'm not a fan of Campbell's Benno, he dances it perfectly well but in his hands the choreography is diminished because Campbell is unable to convey classical elegance in the way that, for example, James Hay can. Sorry to say that I thought the two sisters (Mendizabal & Stix-Brunell) were more like two distant cousins last night, not well matched - going off at a complete tangent though it occurred to me that Stix-B would make a charming Lise. 

 

I didn't find Act 3 particularly successful. For myself, that may be a lot to do with Muntagirov's opening night performance setting such a high bar both technically and dramatically that both Bonelli last week and Ball last night have seemed quite ordinary by comparison. For Bonelli I think it's a question of the stage he is at in his career, but for Ball I found myself wondering whether he has the technical chops necessary for the variations in these traditional classical roles ?  Certainly Ball was nervous which may have contributed to his underwhelming Siegfried but could it be also that old chestnut casting ? These days everyone has to dance every role regardless of suitability. If I  think back just a few weeks, I found Ball's Armand one of the best I've ever seen but Muntagirov's performance deeply unappealing. 

 

As far as the corps is concerned I feel the performances have generally been rather average which may be to do with a new production as demanding as this coming at the end of a long season but may also be to do with the diversity of styles required in the Royal Ballet repertoire meaning that classical technique isn't top of the list of priorities. Luke Jennings makes these interesting points in his review this  "the corps dancers struggle, with issues of line, placement and pull-up continually and dismayingly in evidence." and particularly his last paragraph which may be too long to quote here so here is the link https://www.theguardian.com/stage/2018/may/27/rambert-life-is-dream-kim-brandstrup-royal-ballet-swan-lake-liam-scarlett-review I wonder what other posters here think ? 

 

[Shade]

Agree with much of what has been said by others about the Osipova/Ball performance last night. i am sure the partnership will develop over the run but there is an imbalance in the roles that is inherent in the production. It must be challenge fo any one to dance with Osipova she is so vital. I thought she was very feline in the black act.

 

I didnt miss miss the fouettés - the turns were thrilling and I have never seen them done on stage before.

 

i didn't like the ending it doesn't fit the music. Such a shame it was better before.

 

 

 

 

[Fonty]

11 hours ago, Jam Dancer said:

I must admit that I might be the only person who gets bored with the fouettés. The cult like reverence accorded to this part of the performance (by some) has always put me off. Although I realise (and appreciate) the skill required to do 32 of these thingies,   I am yawning by the 10th and wishing the dancer would mix it up a bit.

 

Happy to hear Osipova mixed it up a bit - I would’ve enjoyed that! Girl after my own heart ....😍

 

No, there have been long discussions about this on another thread, and I also get a little bit bored after about 16.  If Odile chooses to mix them with something else, or insert her own particular party piece, personally I would be overjoyed to see something a bit different occasionally.  I think it is one of those very rare moments in the classical rep where this could be personalised.

 

Having said that, Osipova is a marvellous  fouettér (if you will forgive the word!).  Maybe she is recovering from a slight injury of some sort, and felt that the fouettés would put too much pressure on the supporting limb?  I don't want to start unnecessary speculation, it is just that I am slightly surprised that she, of all people, chose a substitute, marvellous though the alternative obviously was. 

[penelopesimpson]

22 minutes ago, annamk said:

I too had mixed feelings about last night. 

 

Even if I don't love all of Osipova's interpretative choices, I always find her interesting to watch because she brings something different to her performances. These days they seem to have acquired a slightly edgy, more wild feel, it's not all about a beautiful classical line with everything exactly in place. Last night her swan was certainly more swan like than any of the others ! 

 

I enjoyed the Act 2 pdd, I thought Osipova and Ball looked good together and her dancing was so secure he barely needed to be there to partner her.

I'm not a fan of Campbell's Benno, he dances it perfectly well but in his hands the choreography is diminished because Campbell is unable to convey classical elegance in the way that, for example, James Hay can. Sorry to say that I thought the two sisters (Mendizabal & Stix-Brunell) were more like two distant cousins last night, not well matched - going off at a complete tangent though it occurred to me that Stix-B would make a charming Lise. 

 

I didn't find Act 3 particularly successful. For myself, that may be a lot to do with Muntagirov's opening night performance setting such a high bar both technically and dramatically that both Bonelli last week and Ball last night have seemed quite ordinary by comparison. For Bonelli I think it's a question of the stage he is at in his career, but for Ball I found myself wondering whether he has the technical chops necessary for the variations in these traditional classical roles ?  Certainly Ball was nervous which may have contributed to his underwhelming Siegfried but could it be also that old chestnut casting ? These days everyone has to dance every role regardless of suitability. If I  think back just a few weeks, I found Ball's Armand one of the best I've ever seen but Muntagirov's performance deeply unappealing. 

 

As far as the corps is concerned I feel the performances have generally been rather average which may be to do with a new production as demanding as this coming at the end of a long season but may also be to do with the diversity of styles required in the Royal Ballet repertoire meaning that classical technique isn't top of the list of priorities. Luke Jennings makes these interesting points in his review this  "the corps dancers struggle, with issues of line, placement and pull-up continually and dismayingly in evidence." and particularly his last paragraph which may be too long to quote here so here is the link https://www.theguardian.com/stage/2018/may/27/rambert-life-is-dream-kim-brandstrup-royal-ballet-swan-lake-liam-scarlett-review I wonder what other posters here think ? 

 

Much of what you say gives food for thought.  I have expected great things from Ball and have sometimes got them.  Emotionally in Woolf Works and overwhelmingly in his partnership with Naghdi for R & J.  But I was disappointed by his Winter's Tale and last night he was just a blur.  Casting, it seems to me, is everything and I think if he is to be Siegfried, then Osipova is not a good choice of partner.  Matthew is overwhelmingly youthful which is why he was so wonderfully believable as Romeo.  I don't think looks and presence should be discounted when deciding on partnerships and Osipova has such a blazingly charismatic presence in everything she does, that she needs somebody who can match her.  I loved her with Macrae in Woolf Works where they seemed to spit fireworks at each other, and with Shklyarov in Marguerite and Armand and Watson in Mayerling.  I don't think Ball is the right choice for Swan Lake.

[Sim]

I am still overwhelmed by the beauty of Yasmine Naghdi’s debut yesterday.  Wow.  As with her Aurora and Giselle debuts, I was astonished that this was a first performance, especially when she has had almost no stage time this season. 

Not only was this a technically assured performance, but dramatically and emotionally, it hit all the right spots.  Her Odette is so warm, so vulnerable, so sad….but somewhere underneath that we get a feeling of inner strength.  Yasmine has the most beautiful soft arms.  They flutter, they melt, they say so much.  So do her eyes, and her Act 2 mime was crystal clear, and not rushed.  This is so important.  If the mime is left in the ballet, it should be conveyed clearly, and here Odette’s story was heartbreakingly told.   The sheer beauty and languid movement in the Act 2 pdd was a joy to behold;  here was a young woman full of hope, full of love, but somehow with a foreboding that all was not well, so she wanted to enjoy this moment while she could, and not rush it.  Here is where the English training and Russian coaching came together so effectively.

In Act 3, Yasmine’s Odile was a true temptress…..joyfully cruel, revelling in her power over the hapless Siegfried, playing with him like a toy, and always laughing at him with her eyes and her ironic smile.  Look but don’t touch….unless I say so.  Again, those eyes;  they pierced Siegfried to the core and what man wouldn’t be spellbound by such magic?  This wasn’t Yasmine enjoying herself playing Odile, this WAS Odile, enjoying herself playing with Siegfried’s emotions and vulnerability.   Technically, she kept in character by really attacking the choreography but without making it look like a circus trick.   Timmie mentions ‘a big wobble’ in the fouettes.  It wasn’t big at all;  she came off pointe for a split second and recovered so quickly that many people didn’t notice at all.  Personally I don’t make a big deal about the fouettes.  I always think that it’s a bonus if they are perfect, but this ballet is about so much more than these spins.  The whole of Odile’s variation is to seduce Siegfried, so the fouettes are not her only means.  That incredible balance, the best I’ve seen for ages, the speedy maneges around the stage, the teasing…..this is a totally credible and convincing Odile, who could if necessary seduce with just her eyes and those arms:  pulling Siegfried close, then tossing him away like a piece of paper in the wind, all with the most subtle of movements. 

The contrast between white and black was devastating, as it should be.  We should think at the end of this ballet:  how could this be the same ballerina, dancing two such different roles in one ballet?  And that is how I felt after the heart-wrenching Act 4.  Gosh it was so very sad;  Odette’s despondency translated through liquid movement of arms and head, and the abject sadness in her eyes, had all of us holding our breath.  How could this same dancer have been so cruel just half an hour before?  I really got the sense that Odette’s death was necessary not only to break the spell, but so that she could finally get the peace that she was so close to attaining but that, through a cruel twist of fate, eluded her.   Her solitary ghostly presence above the rock at the end just exacerbated her loneliness, but as I said after the first night, in the absence of an apotheosis there is a slightly uplifting aspect to the ending in that Odette will be there to keep watch over Siegfried.  Yasmine is such a thoughtful and intelligent dancer, and it is very clear that she has given months of thought and preparation in her mind as to how to interpret this most difficult of roles.  It has paid off, in spades.  Sadly, her Siegfried was no match for her in any way:  not technically nor dramatically.  I really don’t know what Kevin O’Hare was thinking with these castings.  I haven’t seen Ball/Osipova yet, but when Ball/Naghdi debuted so beautifully together in Sleeping Beauty, R&J and Giselle, why not in Swan Lake?  Technically this ballet is no more difficult than SB, so I just don’t get it.   Yasmine had nothing to feed off here.  Yes,  Kish was a good, solid partner in that he lifted her and supported her well, but that was all I got.  Yasmine carried all the drama and emotion alone, which makes her debut all the more remarkable.

With regard to the rest of the performance, I was so happy to see Gary Avis onstage as Von Rothbart.   For me, his subtly menacing interpretation was most disturbing and therefore very believable when the Act 3 denouement happened.  As someone said, less is definitely a lot more, and someone with Avis’s years of experience understands that.  He has much to teach the other character actors in the company, and I hope they listen to him.  His is a rare talent.   I don’t often say this, but I am very glad he got resoundly booed;  it shows how brilliantly he did his job!!  J

I thought that Ben Ella was superb as Benno;  beautifully executed high jumps which, a la Nijinsky, seemed to hang in the air.  Soft landings, pinpoint turns….simply stunning.  I loved Isabella Gasparini in the pdt, but I too thought that Tierney Heap was totally miscast in this role.  The choreography simply didn’t sit well on her, and I found myself wishing that the third person was Anna-Rose O’Sullivan instead. 

I loved Nathalie Harrison’s portrayal of the Queen;  she just made me feel sad the whole time, which I quite liked. 

I have written way more than I meant to so I won’t go on.  As far as the ending is concerned, an easy way to make an apotheosis (that wouldn’t cost any money to change) would be for Siegfried to follow Odette into the lake, and at the end both of them could appear together in the sky whilst the swan maidens pay homage at the lakeside.  Or would that be a bit too much like BRB’s ending?  There are other comments I could make about the production, but yesterday I decided that for this performance it was just going to be about the dancing of a special artist.   I would say, after only one performance, that she will become one of the great swans, one for our time and for a long time.  Huge bravo to her. 

[Lizbie1]

18 minutes ago, Fonty said:

Having said that, Osipova is a marvellous  fouettér (if you will forgive the word!).  Maybe she is recovering from a slight injury of some sort, and felt that the fouettés would put too much pressure on the supporting limb?  I don't want to start unnecessary speculation, it is just that I am slightly surprised that she, of all people, chose a substitute, marvellous though the alternative obviously was. 

 

Possibly it's because she's more than paid her fouette dues. She doesn't have anything to prove, which leaves her free to substitute something else, for whatever reason.

[bridiem]

1 hour ago, Geoff said:

 

...which was one of the transcendent moments from Osipova last night. I actually made a noise - of shock, surprise and then delight - as I thought I saw her transform into a swan in front of us (apologies to those sitting near me for my involuntary sound!)

 

Yes, it was brilliant! My sister who was also there last night said that it was if she was in a state of panic as she turned and turned - and then was a swan.

Edited May 29, 2018 by bridiem
Typo

[ferrylights]

1 hour ago, annamk said:

As far as the corps is concerned I feel the performances have generally been rather average which may be to do with a new production as demanding as this coming at the end of a long season but may also be to do with the diversity of styles required in the Royal Ballet repertoire meaning that classical technique isn't top of the list of priorities. Luke Jennings makes these interesting points in his review this  "the corps dancers struggle, with issues of line, placement and pull-up continually and dismayingly in evidence." and particularly his last paragraph which may be too long to quote here so here is the link https://www.theguardian.com/stage/2018/may/27/rambert-life-is-dream-kim-brandstrup-royal-ballet-swan-lake-liam-scarlett-review I wonder what other posters here think ? 

 

 

Oh wow, I really thought the corps were beyond excellent during the matinee yesterday. Always interesting how performances are interpreted by different people. 

Yasmine was an absolute dream, as expected. Would have loved to have seen her with Matthew Ball instead of Nehemiah. 

[alison]

29 minutes ago, Sim said:

As far as the ending is concerned, an easy way to make an apotheosis (that wouldn’t cost any money to change) would be for Siegfried to follow Odette into the lake, and at the end both of them could appear together in the sky whilst the swan maidens pay homage at the lakeside.  Or would that be a bit too much like BRB’s ending? 

 

BRB's ending has Benno retrieving Siegfried's drowned body from the lake: I've already thought that the current ending is perhaps a bit too much like BRB's!

[alison]

2 minutes ago, ferrylights said:

 

Oh wow, I really thought the corps were beyond excellent during the matinee yesterday. Always interesting how performances are interpreted by different people. 

 

Well, as I've said before, the variety of viewpoints from the ROH auditorium can mean that people get very different impressions depending on where they are sitting!  I don't imagine any of the critics will have seen the performance from anywhere other than "ground level", which was why I was surprised to see that Luke Jennings appears to have been the only one to pick up on the details of the corps.

[Xandra Newman]

Sim, what a wonderful review, so full of detailed descriptions and such great knowledge you have.  Your review is better than 95% of the current newspaper reviewers cum "ballet critics"! You made me relive yesterday's Matinee, thank you.

[bridiem]

38 minutes ago, Sim said:

 

As far as the ending is concerned, an easy way to make an apotheosis (that wouldn’t cost any money to change) would be for Siegfried to follow Odette into the lake, and at the end both of them could appear together in the sky whilst the swan maidens pay homage at the lakeside. 

 

Job done.

 

And thank you for your wonderfully vivid and perceptive account of Yasmine Naghdi's performance (and the rest of the matinée).

[annamk]

10 minutes ago, alison said:

 

Well, as I've said before, the variety of viewpoints from the ROH auditorium can mean that people get very different impressions depending on where they are sitting!  I don't imagine any of the critics will have seen the performance from anywhere other than "ground level", which was why I was surprised to see that Luke Jennings appears to have been the only one to pick up on the details of the corps.

 

Is he the only major critic who was a dancer ? 

Edited May 29, 2018 by annamk

[bangorballetboy]

1 hour ago, annamk said:

going off at a complete tangent though it occurred to me that Stix-B would make a charming Lise. 

 

 

 

I was thinking the exact same thing last night.

[alison]

14 minutes ago, annamk said:

 

Is he the only major critic who was a dancer ? 

 

I think Judith Mackrell and Neil Norman both were, too.  Can anyone confirm?

[ferrylights]

17 minutes ago, alison said:

 

BRB's ending has Benno retrieving Siegfried's drowned body from the lake: I've already thought that the current ending is perhaps a bit too much like BRB's!

 

I'm definietley in the minority who really, really loves the ending of this ROH production. 😳 For me I found it brought a lot of closure to the production. 

[Bruce Wall]

Thanks for the wonderful review, Sim.  I agree with everything you say ..... and will give but what scattered impressions my very limited time will allow: Naghdi was simply sublime - as was Ella.  Naghdi's Black Swan variation - ripe in its acute musicality's play - was worth the price of anyone's ticket ALONE!  In the evening Ball glistened in his debut ... offering Osipova a multitude of opportunities for rapturous moments - so much so that it made you (well, me at least) realise what a cipher Seigfried has become in this production - in spite of the over-seeing choreographer's plea to the reverse in his in-sight interview.  In both outings Avis benefited us ALL with his gloriously streamlined VR - wholly (well more) in keeping with the traditional character.  I, myself, was swayed by his calcification in the end.  Mendizabal was as miscast in the evening's PDT as Heap had been in the afternoon; all the more obvious because Stix-Brunnell and Gasparini were so, so fine.  O'Sullivan graciously titillated as the Polish Princess - (I continually delight at this stunning young dancer's habit of greeting the entire house with her eyes) - and Campbell as Benno in the evening - well - like Hay - I have come to feel that he is simply incapable of giving a poor performance.  Such rich rewards are to be found in these ranks.  So nice to also see the fine apprentices given due focus.  

 

Edited May 29, 2018 by Bruce Wall

[Lizbie1]

1 hour ago, annamk said:

Luke Jennings makes these interesting points in his review this  "the corps dancers struggle, with issues of line, placement and pull-up continually and dismayingly in evidence." and particularly his last paragraph which may be too long to quote here so here is the link https://www.theguardian.com/stage/2018/may/27/rambert-life-is-dream-kim-brandstrup-royal-ballet-swan-lake-liam-scarlett-review I wonder what other posters here think ? 

 

22 minutes ago, annamk said:

 

Is he the only major critic who was a dancer ? 

 

Interestingly enough, I was sitting next to a former dancer yesterday afternoon (ex-RB I think) who disagreed very strongly with Luke Jennings about the corps.

[Sim]

40 minutes ago, Xandra Newman said:

Sim, what a wonderful review, so full of detailed descriptions and such great knowledge you have.  Your review is better than 95% of the current newspaper reviewers cum "ballet critics"! You made me relive yesterday's Matinee, thank you.

Awww thanks so much, Xandra.  I had great inspiration! 

[zxDaveM]

1 hour ago, Sim said:

her Act 2 mime was crystal clear, and not rushed.  This is so important.  If the mime is left in the ballet, it should be conveyed clearly, and here Odette’s story was heartbreakingly told. 

 

so agree with this Sim - so often these days some dancers (some very senior lead dancers no less) seem to do a short hand of the mime, assuming that we all know it anyway,  so here is the gist, as it were.

 

And yes, Yasmine's portrayal and dancing of O/O - sublime indeed. Just when I think she can't amaze me any more than she has already, she goes and does it!  🙂

[RHowarth]

41 minutes ago, alison said:

 

I think Judith Mackrell and Neil Norman both were, too.  Can anyone confirm?

I don't think Neil Norman was - but could be wrong of course.