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The Royal Ballet: New Swan Lake Production, Summer 2018


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29 minutes ago, zxDaveM said:

 

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!  🙂

 

Her mime was indeed beautifully and intricately detailed, she didn't rush the mime at all.

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22 minutes ago, Xandra Newman said:

Her mime was indeed beautifully and intricately detailed, she didn't rush the mime at all.

 

How did  Naghdi work that, Xandra? Because it seems to me that in other performances it has been the speed of the music at this point that dictates the mime being pretty fast (and rather difficult to follow, if it's unfamiliar). 

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Do people feel that the quality of Kish’s dancing was poor, or that his delivery was underwhelming?

 

I ask because my understanding is that, in a classical ballet like Swan Lake, the man is there to support the ballerina not overshadow her. As such, I felt Kish was an accomplished classical partner, although I would have liked more from him dramatically and didn't sense any real chemistry with Naghdi. For me he was neat, tidy, assured, and understated in his solos and secure, attentive and caring in his partnering. He didn’t try to show off. I get the sense that this is his style, rather than an indication of technical shortcomings. That Naghdi completely stole the show is surely a complement to her self-effacing partner.

 

Is my judgement wrong? Did Kish display a lack of technique? We are so spoilt these days with men who are jumping higher and spinning faster than ever before. Have we become so accustomed to a bravura style that when a dancer offers us something different, less showy, we reject it? Is this simply a matter of taste? Perhaps if Kish was stronger dramatically his understated dancing would be more effective?

 

Edited by Saodan
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13 minutes ago, Saodan said:

Perhaps if Kish was stronger dramatically his understated dancing would be more effective?

 

Not necessarily effective, but forgivable.  And the drama would have to be very strong.  We don't always expect fireworks and bravura dancing from the men, as not all can do this.  However, what we (or I) always DO expect from a principal dancer in one of the world's great companies is a pretty high technical standard....and we didn't get that yesterday.  Maybe the next performance will be better.  I heard that Kish's DG was very good indeed, so maybe there was a touch of nerves yesterday.  

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3 minutes ago, Sim said:

Not necessarily effective, but forgivable.  And the drama would have to be very strong.  We don't always expect fireworks and bravura dancing from the men, as not all can do this.  However, what we (or I) always DO expect from a principal dancer in one of the world's great companies is a pretty high technical standard....and we didn't get that yesterday.  Maybe the next performance will be better.  I heard that Kish's DG was very good indeed, so maybe there was a touch of nerves yesterday.  

 

The weight of all us Yasmine Naghdi fans on his shoulders 😉

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38 minutes ago, Saodan said:

Do people feel that the quality of Kish’s dancing was poor, or that his delivery was underwhelming?

 

I ask because my understanding is that, in a classical ballet like Swan Lake, the man is there to support the ballerina not overshadow her. As such, I felt Kish was an accomplished classical partner, although I would have liked more from him dramatically and didn't sense any real chemistry with Naghdi. For me he was neat, tidy, assured, and understated in his solos and secure, attentive and caring in his partnering. He didn’t try to show off. I get the sense that this is his style, rather than an indication of technical shortcomings. That Naghdi completely stole the show is surely a complement to her self-effacing partner.

 

Is my judgement wrong? Did Kish display a lack of technique? We are so spoilt these days with men who are jumping higher and spinning faster than ever before. Have we become so accustomed to a bravura style that when a dancer offers us something different, less showy, we reject it? Is this simply a matter of taste? Perhaps if Kish was stronger dramatically his understated dancing would be more effective?

 

 

Interesting comments, Saodan. I would say that the role of the man in classical ballet changed a long time ago and that being only an understated support to the ballerina is no longer enough. I don't think that being neat, tidy and assured is enough to carry a principal role in a major company (just about any of the men in the RB could do the role if that was all that was required). I personally don't like dancers who are what I would call showy; but I need to see why they are there.

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I was going to try to write about Naghdi's Odette/Odile, which was deeply impressive, but Sim has said it all so well and in such detail that I will content myself with a few quick observations mainly on yesterday's shows.

 

Whereas Naghdi before her had given us two very different beings and seemed to fully inhabit both of them, Osipova' s hard and mannered Odette had too much of the commanding Odile about her for my taste. Unlike others, I didn't receive much range  of feeling from her Odette, rather an over-active fluster, but I agree that she was an extraordinary Odile. [A brief acknowledgement of Leticia Dias's 'double' work in the Prologue at both shows - beautiful arms.]

 

For me, Ball was every inch a believable Prince. I used to think that his classical technique needed sharpening but here, as in Giselle, he was impressive in my eyes and I liked his characterisation too. Indeed, I went away feeling that he had really 'made it' now. He is that rare dancer - someone who can excel in many genres - and he brings a reality to everything he does. I didn't find him mismatched with Osipova and he was certainly not overshadowed by her. However, at the matinee, it felt as if Kish's Siegfried wasn't there, not because Naghdi overwhelmed him but because her portrayal was in a completely different league. We tend to talk a lot about the strength of the RB currently but, at Principal level among the men, there are some question marks. {Edited to note that there have been other comments on this while my writing was halted by a flood.}

 

The integration of Benno into the pas de trois works well but, otherwise, there is altogether too much of him and I'm sorry to say that Campbell is the least attractive of the dancers I've seen in the role. Ella was a joy yesterday afternoon.  I know that Siegfried is feeling gloomy in Act 1 but surely he could have danced with the corps instead of Benno. Irrespective of who the dancer is, it's really quite a relief when he is finally ordered away................but, oh dear, there he is back in Act 3 dressed (again) somewhat incongruously and diverting attention from the principal players.

 

Not all the pairings of Siegfried's sisters have been propitious and we had two not altogether successful  ones yesterday (Heap/Gasparini and Stix-Brunell/Mendizabal). OK, so it can't be Hayward/Takada or Kaneko/O'Sullivan at every show but style and physical shape should surely be a factor in casting - and they are the Prince's younger sisters after all.

 

I like the link between the Princesses and the national dances but would have preferred to see that carried through so that the Spanish Princess led the Spanish Dance etc. And I still don't feel that the tutus sit well with the waltz which should imply swirling skirts.

 

So much more to say about the production but, so far for me, it's been mainly about appreciating the dancing and overall  interpretations of Muntagirov, Takada, Bracewell, Nagdhi and Ball. Amazing artists.

 

 

Edited by capybara
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Loving all these reports about Monday's performances.

 

I wish Naghdi were doing the cinema relay (with a different partner), as Nunez has already been filmed in SL. Sounds like her debut was an absolute triumph.

 

Admittedly I love the fouettes, but can't fault Osipova for substituting them especially as she has done them countless times. For some reason Osipova's fouettes have always looked awkward; whereas I find her pique manege thrilling. So if this was an artistic choice, it was quite a defensible one.

 

Where I take issue is if a ballerina cannot perform the fouettes and replaces them with something not as virtuosic. Misty Copeland's infamous video shows about 14 fouettes followed by a perfunctory manege with no sense of enslaving Siegfried. In this case, the pique turns were merely there to fill 16 counts voided by technical deficiency. It seems that with Osipova's manege, it was not only technically impressive but completely in character for Odile.

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56 minutes ago, Saodan said:

That Naghdi completely stole the show is surely a complement to her self-effacing partner.

 

 

Naghdi stole the show because she is a much better dancer and actor than her partner is.  She didn't need him to be self effacing in order for her to shine.   

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4 hours ago, Sim said:

...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...

 

😃My wife told me off for calling it a big wobble when I told her what I’d posted…

Despite minor disagreements on wobble magnitude it looks like we all agree it was very much a role debut worthy of sitting alongside Naghdi’s other major role debuts. Role on Gamzatti!

(BTW Mrs Timmie enjoyed the performance immensely and from an occasional ballet goer, who sometimes comes out of a ballet with a ‘meh’ look on her face, that is high praise indeed for the production).

Edited by Timmie
minor word change.
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1 hour ago, Sim said:

I heard that Kish's DG was very good indeed, so maybe there was a touch of nerves yesterday.  

 

I saw Kish’s Des Grieux and thought he was very effective dramatically and technically. This is, perhaps, why I find this point intriguing. Having seen how good he can be, I’m struggling to process his performance yesterday. I completely agree he was underwhelming, but I’m not sure why. It may have been nerves, the strength of his partner, the ballet itself, or something else. I just find it difficult to accept that he is not good enough, as I have seen for myself that this is not true.

 

I should probably say, I thought Naghdi gave a magnificent debut. The contrast between the acts was particularly striking. I do wish her Siegfried had been more responsive to that. It takes a special artist to deliver a debut performance of such maturity.

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I haven't seen Kish as Siegfried so unable to comment.  However, he is not a dancer that I necessarily equate with I expect from RB Principals.  I don't consider myself qualified to comment much on technique but must assume he is well qualified.  Where I haven't warmed to him is because he simply never puts himself across in the lyrical and emotional way that I expect.  I also wonder if he has perceived as having the versatility that RB Principals are expected to have - for the simple reason that he dances infrequently.

 

Yes, there are bravura dancers like Macrae and Corrales who thrill us and dazzle with their technique and stage presence.  Then there are the beautiful classicists like Muntagirov and then there's Ed Watson who doesn't really fit into any pigeon hole but for me hits the spot every time.  (incidentally, this is the same spot that I had hoped Matthew Ball would find yesterday!).  Emotion, drama and beauty.

 

I agree that although there is clearly a wealth of burgeoning talent at RB, male Principals are looking a little ragged.  Watson and Macrae each being out for so many months has left a hole as well as putting pressure on the others.  Campbell and Bonelli have been spread thin, possibly also Muntagirov.  Soares has disappeared and Hirano may not yet have all the repertoire.  Presumably KOH was taking all these factors into consideration when he acquired Bracewell and Corrales.

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1 hour ago, Sim said:

Naghdi stole the show because she is a much better dancer and actor than her partner is.  She didn't need him to be self effacing in order for her to shine.   

Here, here.  Actually, I would think it was made more difficult having a rather unresponsive partner.  

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I have not seen Kish but surely he must have been doing something right for Naghdi to shine so well? At least in the elements where she was depending on his partnership.....

But I do agree with Penelope that in the main, for various reasons,  the RB seems to be more able to rely on its highly impressive female principals, than the males. It will be very interesting to see what changes in personnel transpire later this year.

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Some further thoughts from my train journey home.

 

I am increasingly impressed with the production the more times I see it and I find Act 4 very moving indeed.  I agree it is odd that Siegfried is unconscious for so much of the closing minutes where the swans have their victory over Von Rothbart and for my part a swan victory isn't sufficient in itself to complement the music’s glorious apotheosis.  A number of posters have suggested a major change to the ending where Siegfried joins Odile in death and both are transfigured (which I assume means we lose Odile’s human body brought lovingly centre stage by Siegfried), but a marginal change I would much rather have would be for Siegfried to recognise Odile’s spirt and what that might mean for him.  From the opening night (not the Rehearsal) I’ve tended to read a lot more into the transcendency offered by Odile's spirt and just wonder if there’s a way in which this could be highlighted.  As I’ve said before I find Liam Scarlett’s ending much more human than the double death and promise of love united beyond death.  We all bring our personal perspectives to bear on what we see and for me ballet has certainly provided much solace which I fully recognise influences what I take from the ending presented.

 

I do think Act 3 works brilliantly and am very surprised how little applause there has been when curtain goes up at the start of the Act at the performances I’ve attended from where I’ve been sitting.  The narrative is so strong and I do think the national dances work well though am still hoping we’ll get a scintillating Neapolitan dance with both dancers absolutely in command of steps and tambourines.  I still hanker after having the princesses engaged in their national dances rather than simply presiding in regal satisfaction, particularly when we had such a fabulous quartet last night and I'm sure for other performances.  I think the transformation from Act 1 to Act 2 is beautifully done and really do think the Royal Ballet has cause to celebrate the designs, sets and costumes.  And I do like what Liam Scarlett has brought to the choreography, the Act 4 PDD especially

 

I find the Siegfried/Benno share of dancing fine.  It is good to have such a strong role for Benno and we’ve certainly had great performances.  Siegfried remains clearly the lead and performance by Vadim and to my mind Matthew show what can be done.  I do think Gary Avis’s performances yesterday were a master class in character dancing.

 

I do agree that the PDT work best where the three dancers are more closely matched.  We were really spoiled on opening night with Francesca, Akane and Alex and I’m hoping very much we see the same three in the cinema.

 

There’s been a tremendous amount of multi tasking of roles for so many dancers, more so with two performances on one day.  I’m sure we all have our favourites but I have to say how much Mayara Magri, Anna Rose O’Sullivan and Isabella Gasparini have impressed me in all their roles. The cygnets have all been excellent to my eyes and not hackneyed.

 

Finally thanks again to Bloomsberry Flowers clearly working overtime for Bank Holiday performances, including Yasmine’s memorable debut.

 

Next Swan Lake for me is the cinema relay and then a Friday 15 June double.  Meantime I’ll look forward very much to reading your further posts on this thread which I've read with real interest.

 

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1 hour ago, penelopesimpson said:

Here, here.  Actually, I would think it was made more difficult having a rather unresponsive partner.  

 

from what I've heard, he is a considerate, strong, dependable partner, and experienced dancing Swan Lakes. So perhaps a solid base on which an inexperienced Odette/Odile can expand her dancing and acting, without any worry about the support she receives. So hats off to him I say, for allowing Yasmine to shine so brightly

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Thanks for your very interesting thoughts, JohnS. I agree very much about the multi tasking, especially given the number of dancers yesterday evening who had also been heavily involved in the matinée.

 

I think that your proposed change to the ending, though not fundamental enough for my preferences, would certainly be an improvement on the current one. (One of the moments I do miss from the former production was towards the end of Act 4, when Odette and Siegfried together confronted Rothbart as if to say 'No! You will not win! We will vanquish you!' to the most powerful, dramatic music. I really yearn for that clear, decisive act of self-sacrifice on both their parts.)

Edited by bridiem
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Many thanks bridiem.  I'm sure some time back you'd made a comment about Siegfried not seeing Odile's spirit which I've been thinking about.  I'd be very surprised if on its next outing there would be the sort of change that a number of posters have suggested but did think giving Siegfried more time at the close and signalling some acknowledgement of Odile's spirit might be worth considering.

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52 minutes ago, bridiem said:

Thanks for your very interesting thoughts, JohnS. I agree very much about the multi tasking, especially given the number of dancers yesterday evening who had also been heavily involved in the matinée.

 

....... and all the corps. I don't think those of us who have not been dancers can ever really appreciate how tiring all that 'swanning around' must be.

 

If I understand it correctly, the corps must also be rehearsing the last movement of Symphony in C for tomorrow's Gala and preparing Romeo and Juliet for filming. It's a tall order.

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1 hour ago, zxDaveM said:

 

from what I've heard, he is a considerate, strong, dependable partner, and experienced dancing Swan Lakes. So perhaps a solid base on which an inexperienced Odette/Odile can expand her dancing and acting, without any worry about the support she receives. So hats off to him I say, for allowing Yasmine to shine so brightly

I can't believe any Principal thinks 'well, I will just do what's needed tonight and not much more because the lady needs to shine.'  If they did, then they certainly shouldn't be with RB.  What I want is a partnership - two strong dancers supporting each other yes, but also willing each other on to an enhanced performance.

 

I also think its somewhat patronising to assume that a ballerina can only shine brightly if she has no competition.  

Edited by penelopesimpson
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59 minutes ago, capybara said:

 

....... and all the corps. I don't think those of us who have not been dancers can ever really appreciate how tiring all that 'swanning around' must be.

 

If I understand it correctly, the corps must also be rehearsing the last movement of Symphony in C for tomorrow's Gala and preparing Romeo and Juliet for filming. It's a tall order.

I was fortunate enough to sit next to a cast member last night who had performed at the matinee.  No names no pack drill, but he did admit Swan Lake had been a long haul.

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8 minutes ago, penelopesimpson said:

I can't believe any Principal thinks 'well, I will just do what's needed tonight and not much more because the lady needs to shine.'  If they did, then they certainly shouldn't be with RB.  What I want is a partnership - two strong dancers supporting each other yes, but also willing each other on to an enhanced performance.

 

I also think its somewhat patronising to assume that a ballerina can only shine brightly if she has no competition.  

 

I don't think that's what was meant. "Allowing" can mean "enabling", and the excellent partnering that Kish supplied in order to do that doesn't exactly grow on trees.

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14 hours ago, bangorballetboy said:

My thoughts were that, as the rest of Osipova's performance in that pd2 had been rather out-of-control and not her best, she didn't feel comfortable in doing the fouetté turns.

 

We were given a public update tonight during the Backstage Insight event. The stage management team said that, although they knew in advance that Osipova would make her Act III variation entrance (the "fouetté" entrance) from the opposite side of the stage to the other Odiles, they had no prior knowledge of what she would do next, ie the turns round the stage. With, if I understood correctly, the result that the follow spots weren't ready or able to follow her.

 

That was a perhaps comical side note. Less amusing was a hint of what some have feared, that the fouettés were abandoned because of a "possible injury". Or so they told us.

 

I hope she's ok. Fouettés or no fouettés, injury or no injury, it was, as others have said, a stunning performance.

 

Edited by Geoff
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