The Royal Ballet: New Swan Lake Production, Summer 2018

[Saodan]

8 hours ago, loveclassics said:

BTW, if anyone can let me know the casting of the supporting roles, at least for the 3rd Act I would be most grateful.

 

I’m hoping that the full casting will be added to the digital program in due course. Until then, it looked to me like it was pretty much opening night cast with a few exceptions. I do wish the ROH was more forthcoming with casting details for the cinema screenings. The dancers are all excellent and deserve acknowledgement.

 

Act 1
Waltz and Polonaise - Heap, Hinkis, Kaneko, Magri, Ball, Hay, Montaño, Sambé

 

Act 2
Two Swans - Calvert, Magri
Cygnets - Hinkis, Gasparini, Pajdak, Harrod

 

Act 3
Italian Princess - Choe
Spanish Princess - Mendizabal
Hungarian Princess - Hamilton
Polish Princess - Stix-Brunell
Spanish Dance - Heap, Emerton, Edmonds, Clarke, Montaño
Czardas - Pajdak, Dyer
Neapolitan Dance - Hinkis, Sambé
Mazurka - Harrison, Bracewell

 

Edited June 13, 2018 by Saodan

[Lizbie1]

1 minute ago, Saodan said:

Until then, it looked to me like it was pretty much opening night cast with a few exceptions.

 

The main change that I could see was Pajdak in for Cowley in the Czardas - and very lovely she was too!

[Mary]

Thank you!

Among many other details, I found myself noticing Claire Calvert's big swan -being able to see the faces is always such a joy- and one thing I like about this production is the humanising of the cygnets/supporting swans as they empathise with and comfort Odette. Calvert was especially lovely I thought.

[Lizbie1]

2 minutes ago, Mary said:

Thank you!

Among many other details, I found myself noticing Claire Calvert's big swan -being able to see the faces is always such a joy- and one thing I like about this production is the humanising of the cygnets/supporting swans as they empathise with and comfort Odette. Calvert was especially lovely I thought.

 

Love watching her feet, too!

[Anna C]

45 minutes ago, Balletfanp said:

 

I did spot the missing lift but assumed there was a good reason for it as there didn’t appear to be any issues with timing it badly or anything. It was glossed over so smoothly (well done Vadim!) that anyone who didn’t know there should have been a lift wouldn’t have known. Certainly the people I was with noticed nothing.

 

I thought something was amiss but couldn't remember what was missing, having only seen this production once before.  Both dancers covered it so well.

 

At our local Cineworld the lighting of Acts II and IV was so dim you could barely see Siegfried from a distance.  Darcey and Ore were so quiet I was almost lipreading to understand what they were saying.  Fortunately the orchestra was at a decent level.  

 

I'm glad the ROH had a camera at what I presume was DG Grand Tier level - it was nice to see the corps from above.

[Lizbie1]

Since there are so many posts about the lighting, I'd like to say that it seemed fine at the cinema I was watching from. I don't think the blame lies solely with ROH.

[Anna C]

22 minutes ago, Saodan said:

 

I’m hoping that the full casting will be added to the digital program in due course. Until then, it looked to me like it was pretty much opening night cast with a few exceptions. I do wish the ROH was more forthcoming with casting details for the cinema screenings. The dancers are all excellent and deserve acknowledgement.

 

Act 1
Waltz and Polonaise - Heap, Hinkis, Kaneko, Magri, Ball, Hay, Montaño, Sambé

 

Act 2
Two Swans - Calvert, Magri
Cygnets - Hinkis, Gasparini, Pajdak, Harrod

 

Act 3
Italian Princess - Choe
Spanish Princess - Mendizabal
Hungarian Princess - Hamilton
Polish Princess - Stix-Brunell
Spanish Dance - Heap, Emerton, Edmonds, Clarke, Montaño
Czardas - Pajdak, Dyer
Neapolitan Dance - Hinkis, Sambé
Mazurka - Harrison, Bracewell

 

 

Thanks Saodan.  We had no cast sheets and I had to identify the supporting cast for the lady next to me who is customarily an opera-goer.  

[Saodan]

 

4 minutes ago, Lizbie1 said:

 

The main change that I could see was Pajdak in for Cowley in the Czardas - and very lovely she was too!

 

Yes, I think that was the main one. Heap for Cowley in the Waltz, Pajdak for Cowley in the Czardas, Emerton for Ella in the Spanish, and Gasparini for Stock in Cygnets. Stock was on stage as Odette's double in the prologue with Bracewell as Von Rothbart. I do hope all the dancers are ok.

[Saodan]

On 30/05/2018 at 21:31, Saodan said:

Having been very impressed by Ella at the matinee (what a season he is having) I was excited to see that Campbell would be dancing in the evening. I was surprised that I found his interpretation to be less engaging, because I normally like Campbell very much.

 

Whilst I’m at it, I owe Campbell an apology. He is clearly a very fine Benno and gave a brilliant performance last night. I don’t know what was wrong with me in the theatre; maybe I was disconcerted having seen Ella dance different choreography at the matinee. Sorry Mr Campbell, I should never have doubted you.

Edited June 13, 2018 by Saodan

[alison]

8 hours ago, cavycapers said:

This is to do with the aspect ratio in which the broadcast is being protected, not with how it was shot.  I have, in the past, gone to the projection box of my local cinema, and they have adjusted the ratio, et viola!  Normal sized dancers!

 

Not in this case.  They were appearing normal on screen, it was just something about the transfer to my camera (I've always sat centrally before, but was unable to do so this time) that seemed to mess things up.

 

2 hours ago, Jan McNulty said:

Vadim Muntagirov, as a young man perhaps thrust unexpectedly into the limelight because of his coming of age was exceptional.  I loved his unfussy virtuosity that made the dancing seem oh so simple, effortless and utterly exquisite.   

 

That sums it up so beautifully, Janet.  Not to mention that there isn't an iota of "look at me, aren't I fabulous" with him.

 

38 minutes ago, Saodan said:

Act 1
Waltz and Polonaise - Heap, Hinkis, Kaneko, Magri, Ball, Hay, Montaño, Sambé

 

Was Montaño first cast?  It seemed a bit odd to see him in among all the First Soloists.

 

34 minutes ago, Mary said:

Among many other details, I found myself noticing Claire Calvert's big swan -being able to see the faces is always such a joy- and one thing I like about this production is the humanising of the cygnets/supporting swans as they empathise with and comfort Odette.

 

They did that in the previous production too, didn't they?

 

17 minutes ago, Anna C said:

I'm glad the ROH had a camera at what I presume was DG Grand Tier level - it was nice to see the corps from above.

 

I wondered if they'd done that, too, or whether it was just a very elevated position of the camera from Stalls Circle, which I think they did occasionally for the Manon broadcast last month.

 

14 minutes ago, Saodan said:

Stock was on stage as Odette's double in the prologue with Bracewell as Von Rothbart.

 

Ah.  I wondered why he was wearing the Rothbart outfit in one of the behind-the-scenes films.

[Jane S]

Where I was watching, the lighting seemed fine and the music sounded very good - but I did miss a lot of what the two presenters were saying. I don't think their was much applause in the cinema but what I assume was the surround sound from the transmission would have made it difficult to tell our applause from what we were hearing from the theatre!

 

I was really disappointed that the camera higher up in the theatre was so little used, especially in the lakeside scenes - they could have shown us far more of the stage patterns in the corps dances for instance.

 

I'm pleased to have seen it as I haven't seen a live performance of this production but for me there are far too many close-ups. Loved the last pas de deux for Odette and Siegfried. And cinema or live, some of the music is still painfully too slow!

[alison]

5 minutes ago, Saodan said:

I don’t know what was wrong with me in the theatre; maybe I was disconcerted having seen Ella dance different choreography at the matinee.

 

Well, Ella is a very fine Benno too ...

[Fiz]

For me, everything about Vadream’s dancing is so admirable and he seems so genuinely nice and unassuming that I really do like him

[Petunia]

Good things come to those who wait.... yesterday at the cinema it was my only chance to see the new SL and oh my, am I still thrilled. What a feast for eyes and ears and soul!

 

Not only were the leading roles danced so thoughtfully and with love for the tiniest detail – but all of the action onstage in the first and third act had a meaning and a place and a space, in the first act the cadets (Ball and Hay!) and girls were not only delivering their dances beautifully but actively created atmosphere (and party vibes!), even in the looong waltz.

 

How everybody interacted with each other, with Rothbart, Benno and Siegfried and the Queen was wonderfully thought out, never boring. I think this is something which makes the Royal Ballet very special: the lack of impassive onlookers in the “background” – something that infuriates me every time I have to witness it. Even in the glorious ballroom scene, during the pdd, everybody is attentive, so you never perceive the pdd as an isolated event (AKA gala piece but with a few background supernumeraries), as I’ve experienced it too many times.

 

Bravi for that.

 

I don’t need to describe the quality of the dancing from Nunez, Muntagirov et al, this has been done extensively, but Nunez still makes my heart melt, and even her Odile is never cold and wicked alone, I can feel how she enjoys herself seducing the poor Prince. I just wish there was more to dance for him, he’s so lovely and truthful in his expression. And those double tours…!

 

Hayward, Takada and Campbell in the pas de trois alone are a reason to buy a DVD if there ever is one to be released, he’s so charming and secure and the ladies are just dazzling – Takada’s feathery jumps and Haywards incredible speed and her easy smile should be filled in bottles and sold as antidepressants.

 

I’d love it if there were encore screenings but sadly, there aren’t any here. To everybody who has another chance to see a performance: enjoy and be proud of your Royal Ballet. I’m already looking forward to the next run whenever that may be - I hope to come over and see more casts, I’ve enjoyed this SL more than any other one I’ve seen in a long time.

[Saodan]

8 minutes ago, alison said:

Was Montaño first cast?  It seemed a bit odd to see him in among all the First Soloists.

 

Montaño was first cast. I was surprised when I checked. I can't help wondering where Zucchetti has been this production. Has anybody sighted him?

 

8 minutes ago, alison said:

Well, Ella is a very fine Benno too ... 

 

Indeed, how spoilt we are!

[Alice Shortcake]

I saw the production at York Picturehouse and also thought that the lighting was inadequate. And it's very annoying that after thirty years of complaints about Siegfried's dark tights making him blend into the background the new production makes exactly the same mistake! Otherwise I enjoyed the production tremendously, with a few reservations:

 

1) Too much Benno, not enough Siegfried. I found myself wondering if the prominence of the prince's personable young friend at court was the real reason why the queen was so anxious to marry her son off to the first available princess.

2) Glitter. Did we really need quite so much? Surely the queen has enough on her mind without risking a Glitter Gap between her own country and the adjoining fairytale nations.

3) Rothbart's costume. Tatty wings, mangled head, exposed ribs...this is what happens when a large bird smashes into a speeding car (or would be if birds had ribs instead of wishbones). The word "roadkill" crossed my mind every time Rothbart appeared in his part-time sorceror outfit. I've never understood why, if Odette can appear in swan form without the aid of wings and a prosthetic beak, Rothbart has to be lumbered with avian - usually owl-like - characteristics. The result is invariably ludicrous, and a bit pointless if Rothbart already looks like Vladimir Putin's even more evil twin.

 

On the whole, though, I thought the production was a vast improvement on the previous one. It's a relief to know that Siegfried's old tutor is now serving a lengthy prison sentence, or at least enrolled with Alcoholics Anonymous, and that Uncle Fester's pink opera cape is unlikely to be seen outside the walls of the Addams family mansion.

[capybara]

3 hours ago, Saodan said:

Montaño was first cast. I was surprised when I checked. I can't help wondering where Zucchetti has been this production. Has anybody sighted him?

 

The confusion arises because Clarke has occupied that slot a lot, including the performance when the cameras were doing their trial run.

 

Zucchetti was listed for Benno at the General Rehearsal but was replaced by Acri.

 

 

Edited June 13, 2018 by capybara

[capybara]

 

3 hours ago, Alice Shortcake said:

 

Too much Benno, not enough Siegfried

 

Absolutely - and I know that I'm going to get booed for this, but too much Alexander Campbell by far. I normally like him very much as an artist but, in this Swan Lake, he  seems to have developed a "look at me" style which I find inappropriate. I keep wanting to call out to him, "Alex: you are not the main man". Other Bennos  are far less in one's face and, for me, that approach works better.

[capybara]

12 hours ago, cavycapers said:

 I preferred Yasmine's Odette.  ........  If only she had been with Vadim, but I suspect we will see that combo in SL one day.  

 

Yes, pleeeeeeeeese    I hope that Kevin O'Hare follows this forum.

 

[Apologies for 3 posts in quick succession but I have been unable to multi-quote for some reason.]

Edited June 13, 2018 by capybara
Apology

[bridiem]

1 hour ago, capybara said:

 

 

Absolutely - and I know that I'm going to get booed for this, but too much Alexander Campbell by far. I normally like him very much as an artist but, in this Swan Lake, he  seems to have developed a "look at me" style which I find inappropriate. I keep wanting to call out to him, "Alex: you are not the main man". Other Bennos  are far less in one's face and, for me, that approach works better.

 

I think that it's because he 'sells' the role so well that it only really works with him in it; otherwise the amount of dancing for Benno vs Siegfried is even more inexplicable.

[LinMM]

Wow only 24 hours away and things move on at such a pace on this Forum!!

Id better get on with my dribs and drabs before the run is over!!

I must say I am looking forward to next Tuesday when I am seeing the production again so can see different casts....its Osipova/Ball then so will see how that pans out. Normally really love Osipova  but Naghdi was so wonderful on Monday and just so my idea of Odette at least ....that she will be hard to beat!! 

The Act three set was certainly sumptuous and glittery and very much in keeping with that order of Fairy Tale though I heard some audiences gave a round of applause for this alone but not so on Monday not that it was not deserved ....though personally I've only once spontaneously applauded a set and that was for the second Act of Winters Tale! 

The costumes were mixed for me. I liked the Spanish very much but not the Hungarian....too dull and grey looking for me. Italian so so but liked the polish ones .....though am not sure that headdress was Polish .....looked more Russian/Ukraine to me though the dance was a fine mazurka so no probs there.....I do hate it when Hungarian and Polish  dancing get mixed up as they are very different in character ...there is much more emphasis on footwork in Hungarian and more body movement and jumps in Polish ....which was shown quite well in these dances. Unfortunately have left the cast list in London and am now in Cornwall so am not sure who actually performed the Hungarian and Polish group dances though Melissa Hamilton was the Polish Princess and Itziar Mendizabel( apologies if incorrect spelling) was the Spanish Princess. I think Calvert was another one but anyway they all danced their pieces in the waltz  well though nothing that exciting here in terms of choreography ...though the Italian Princess was doing her all to get the Prince( Calvert I think!) 

Gina Storm Jensen lead the group Spanish dance and she was the standout for me. I saw and liked her as a student and am glad she is slowly moving along and getting solo bits in the Company now ....Id like to see more of her anyway.

Not far off were  Choe and Acri in the Neapolitan ....Choe always good to look at and I thought Acri really got the feel for it. Have no idea whether nearly approached the speed of Sleep and Collier who were always breathtaking in this but it was well performed and cheery.

The big pas de deux for Siegfried and Odile was very exciting. There was this terrific balance by Naghdi which I don't remember being part of the Rep for this but she did it anyway .....however a little niggle here....I did think that the prep for this was rather obvious as Kish obviously didn't want to let go until he was sure she was okay and although the extra long balance was great ....well the audience absolutely loved it and started applauding....I thought it did interfere a little with the continuity of the dance and am not a great fan of this as a general rule.....so hope this doesn't start becoming a pattern for this pas de deux but perhaps Naghdi was very much on form and just went for it anyway....Kish was definitely in on it...or so it seemed!

in fact I thought Kish acted very well in this Act though in terms of dancing I don't feel he is the big bravura type really a very good dancer but not in that "special" category like say Muntagirov is....and a little bit of wowing is required for this Act I think. The end of this Act was superbly dramatic terrific stuff even if I didn't really get why Rothbart was grabbing the Queens crown etc!!

Will return to the final act bit later. 

 

 

 

 

 

 

 

 

 

[capybara]

1 hour ago, bridiem said:

I think that it's because he 'sells' the role so well that it only really works with him in it; otherwise the amount of dancing for Benno vs Siegfried is even more inexplicable.

 

But there such a thing as 'upselling' which I tend to recoil against. The dancing of Acri, Dyer, Ella, Hay and Sambe has  resonated with me just fine too.

[Sim]

LinMM,  the balance is usually part of the Act 3 pdd, but some dancers do it so briefly that it can go virtually unnoticed.  Don't forget, the point of Odile's variation is to ensure that she entraps Siegfried into falling in love with her, so she pulls out all the stops in order to achieve this:  teasing, temptressing, fouetteing and balancing.  It's all about 'hey Siegfried baby....check me out!  Watch and weep! Swear that you love me!'    So I think this is one of those rare occasions where I can forgive a bit of technical trickery in a classical ballet;  it is in context of the story and what Odile and VR are trying to achieve.  And when it is done as beautifully as Naghdi did it on Monday night, it is art in any case, not technical trickery!! 

[alison]

7 hours ago, Petunia said:

Not only were the leading roles danced so thoughtfully and with love for the tiniest detail – but all of the action onstage in the first and third act had a meaning and a place and a space, in the first act the cadets (Ball and Hay!) and girls were not only delivering their dances beautifully but actively created atmosphere (and party vibes!), even in the looong waltz.

...

How everybody interacted with each other, with Rothbart, Benno and Siegfried and the Queen was wonderfully thought out, never boring. I think this is something which makes the Royal Ballet very special: the lack of impassive onlookers in the “background” – something that infuriates me every time I have to witness it.

...

I just wish there was more to dance for him, he’s so lovely and truthful in his expression. And those double tours…!

...

Hayward, Takada and Campbell in the pas de trois alone are a reason to buy a DVD if there ever is one to be released, he’s so charming and secure and the ladies are just dazzling – Takada’s feathery jumps and Haywards incredible speed and her easy smile should be filled in bottles and sold as antidepressants.

...

I’d love it if there were encore screenings but sadly, there aren’t any here. To everybody who has another chance to see a performance: enjoy and be proud of your Royal Ballet.

 

I think we are, generally, but thanks, Petunia, for the "outsider's" view - I think there can be a temptation to get a bit blasé about a company you see very often, so it's good to have the reminder.

 

7 hours ago, Alice Shortcake said:

And it's very annoying that after thirty years of complaints about Siegfried's dark tights making him blend into the background the new production makes exactly the same mistake! Otherwise I enjoyed the production tremendously, with a few reservations:

 

1) Too much Benno, not enough Siegfried. I found myself wondering if the prominence of the prince's personable young friend at court was the real reason why the queen was so anxious to marry her son off to the first available princess.

 

Quite agree about the first, and hadn't quite phrased the second in those terms, but I can see what you mean  

[Mary]

2 hours ago, bridiem said:

 

I think that it's because he 'sells' the role so well that it only really works with him in it; otherwise the amount of dancing for Benno vs Siegfried is even more inexplicable.

I agree- it seems to me the role has been written in this way, as very up-tempo and bravura, and you could say Campbell just does that best..so, if it  seems inappropriate in the overall context of the ballet, the fault, if there is a fault, lies with the choreographer not the dancer.

 

It is far from clear what the purpose of Benno's expanded role really is, and it doesn't seem to me to add to the ballet as a whole. But, A. Campbell took what he was given, and delivered it extremely well, in my view.

[cavycapers]

7 hours ago, Alice Shortcake said:

I saw the production at York Picturehouse and also thought that the lighting was inadequate. And it's very annoying that after thirty years of complaints about Siegfried's dark tights making him blend into the background the new production makes exactly the same mistake! Otherwise I enjoyed the production tremendously, with a few reservations:

 

1) Too much Benno, not enough Siegfried. I found myself wondering if the prominence of the prince's personable young friend at court was the real reason why the queen was so anxious to marry her son off to the first available princess.

2) Glitter. Did we really need quite so much? Surely the queen has enough on her mind without risking a Glitter Gap between her own country and the adjoining fairytale nations.

3) Rothbart's costume. Tatty wings, mangled head, exposed ribs...this is what happens when a large bird smashes into a speeding car (or would be if birds had ribs instead of wishbones). The word "roadkill" crossed my mind every time Rothbart appeared in his part-time sorceror outfit. I've never understood why, if Odette can appear in swan form without the aid of wings and a prosthetic beak, Rothbart has to be lumbered with avian - usually owl-like - characteristics. The result is invariably ludicrous, and a bit pointless if Rothbart already looks like Vladimir Putin's even more evil twin.

 

On the whole, though, I thought the production was a vast improvement on the previous one. It's a relief to know that Siegfried's old tutor is now serving a lengthy prison sentence, or at least enrolled with Alcoholics Anonymous, and that Uncle Fester's pink opera cape is unlikely to be seen outside the walls of the Addams family mansion.

oh thank you Alice,  you did make me laugh 😂

[cavycapers]

It's a funny thing with Nela,  watching her rehearse Act 4 pdd with Vadim moved me to tears,  as did the broadcast of her Diamonds rehearsal with Thiago,  and yet I wasn't so moved by the actual performances.   Maybe it's because her personality and her humility show through more when they break during the rehearsals (she laughs at herself so readily,  walks on her heels and constantly fiddles with the waistband of her tutu, so adorable) , and during performances I see a consummate professional.   Maybe (shock horror)  she's too good! 

Edited June 13, 2018 by cavycapers

[capybara]

I want to give a shout for Akane Takada who hasn't been mentioned yet in association with last night. I thought she was exquisite.

[Fiz]

Agreed!

[alison]

22 minutes ago, capybara said:

I want to give a shout for Akane Takada who hasn't been mentioned yet in association with last night. I thought she was exquisite.

 

I'm sure I read her name above, along with Hayward's.

 

9 hours ago, Petunia said:

Hayward, Takada and Campbell in the pas de trois alone are a reason to buy a DVD if there ever is one to be released, he’s so charming and secure and the ladies are just dazzling – Takada’s feathery jumps and Haywards incredible speed and her easy smile should be filled in bottles and sold as antidepressants.

 

 

Thought so

[Richard LH]

9 hours ago, Petunia said:

Takada’s feathery jumps and Haywards incredible speed and her easy smile should be filled in bottles and sold as antidepressants.

How lovely, Petunia !

[Richard LH]

6 hours ago, capybara said:

I know that I'm going to get booed for this, but too much Alexander Campbell by far.

Boo!

[Balletfanp]

I love the live performances, of course, but always try to get to the cinema broadcasts as well because I like the "extras" and the different perspective one gets. I really enjoyed last night's screening and the people I was with thought it was the best one they had seen. More people there than usual (behaving badly - see my post in Audience Behaviour!), but there was applause and they seemed blown away.

 

Great performances all round, but standouts for me were Takada and Heap. Campbell is an excellent dancer and also seems a very nice chap, but unfortunately he just doesn't do it for me onstage - I wish he did! Takada seemed to fly through the pas de trois, and Heap's Spanish dance was full of passion and sensuality.

 

Of course, the icing on the cake was Nunez and Muntagirov - what a partnership they are forming (although, I would, occasionally, like to see Muntagirov with one of the younger principals like Nagdhi). But they are so technically secure they bounce off and complement each other perfectly. The Act 3 pas de deux once again sparkled (but I thought the tempo was too slow). I love Nunez's Odette/Odile (but wish I had seen Naghdi's). Muntagirov's gorgeous lines never fail to make me hold my breath and along with his virtuosic yet sensitive performance make up a wonderful whole. What I love about him as well is the way one can see every thought and emotion pass across his face, and that every gesture, however small, is considered and beautiful.

 

I agree about the darkness, especially in Act 4, where Siegfried and Von Rothbart seemed largely to merge into the gloom, however, since it wasn't a problem when I saw it live I can only conclude it is a problem related to the screening - unfortunate, but possibly not something that could be easily resolved.