The Royal Ballet: New Swan Lake Production, Summer 2018

[bridiem]

12 minutes ago, Sim said:

Absolutely, Xandra.....their younger principals are world-class and exceptionally talented and they should start getting more exposure away from these shores!

 

Speaking of exposure, I just need to rant for a minute.  I am very disappointed that NOT ONE critic has bothered to write about Yasmine's debut in the role of Odette/Odile.  She has danced the role three times for the public, and nothing.  Everyone on social media has been raving about her, but nothing from any critics.  These have been very special performances;  a star has definitely risen, but.....  Nada.  Niente.  Nul.  I could be kind and say that their newspapers probably only allow one review per production (so I guess if they don't get paid, they don't write!), but in these days of online writing I am not sure I buy that.  IIRC there were only one or two reviews of her Giselle debut.  Well, they don't know what they're missing.  I know that for most dancers it's the audiences' views they care about, not the critics', but for me, it's just the point.  Maybe we will get a general summing up of the first run of the new production from someone, wherein they mention some of the dancers....?   I think William Bracewell also deserves some plaudits, as does Matthew Ball (just thinking of the debutants).    Gggrrrrr.

 

I agree about the lack of reviews; but I wonder if professional critics can really write separately (i.e. in an amateur//unpaid capacity) without damaging their professional status? Or if they are even allowed to? I'd be surprised if some of them weren't at other performances, even if they weren't then able to write about them. Either way, it's very frustrating.

[Xandra Newman]

20 minutes ago, Sim said:

Absolutely, Xandra.....their younger principals are world-class and exceptionally talented and they should start getting more exposure away from these shores!

 

Speaking of exposure, I just need to rant for a minute.  I am very disappointed that NOT ONE critic has bothered to write about Yasmine's debut in the role of Odette/Odile.  She has danced the role three times for the public, and nothing.  Everyone on social media has been raving about her, but nothing from any critics.  These have been very special performances;  a star has definitely risen, but.....  Nada.  Niente.  Nul.  I could be kind and say that their newspapers probably only allow one review per production (so I guess if they don't get paid, they don't write!), but in these days of online writing I am not sure I buy that.  IIRC there were only one or two reviews of her Giselle debut.  Well, they don't know what they're missing.  I know that for most dancers it's the audiences' views they care about, not the critics', but for me, it's just the point.  Maybe we will get a general summing up of the first run of the new production from someone, wherein they mention some of the dancers....?   I think William Bracewell also deserves some plaudits, as does Matthew Ball (just thinking of the debutants).    Gggrrrrr.

 

During the interval last night I met up with a few ballet friends and we were all saying - and questioning - the same. Not ONE review about any of her performances (?), well they certainly missed last night's stunner!

Surely the RB Press could "guide" the national press and invite critics to a variety of performances, not just ALL the critics to the Opening Night. Even the RB press did little next to nothing to announce her important debut, such a career defining moment. 

 

[Sim]

I agree BridieM.  What I meant was that it is a shame that no newspaper or magazine seems to think it worthy to send their critics to more than one performance of a new production of the most famous ballet on earth, especially when there are some great debuts, and all three by (dare I say it) English dancers, which could be of interest to many people.  Some critics do tweet their opinions on things, but 140 words (or whatever it is now) doesn't cut it in the same way.  

[zxDaveM]

Think ROH/RB could do more to 'advertise' the new dancing talent, though they seem to concentrate on Francesca Hayward almost exclusively (which I can understand, as she is rather wonderful). Another feature with her in the Standard last night, for example. And critics came to see her shows, as well as opening night ones as a result.

 

Perhaps 'word-of-mouth' from fans to other interested people, may have to suffice for now, until the groundswell is recognised by the powers that be

[Xandra Newman]

The RB Press could have/should have made an even bigger "Swan Lake"  hype by highlighting their new Odette/Odille and the two new Prince Siegfrieds, all been trained in the UK. It would have made an excellent case for and illustration of the very high standard of UK training! 

[Fiz]

Seconded, Xandra! Some rather charmless characters I have unwillingly overheard have made less than polite remarks about dancers in the Royal Ballet who did not appear from their names to be English.

[Sim]

6 minutes ago, Xandra Newman said:

The RB Press could have/should have made an even bigger "Swan Lake"  hype by highlighting their new Odette/Odille and the two new Prince Siegfrieds, all been trained in the UK. It would have made an excellent case for and illustration of the very high standard of UK training! 

Exactly.  They missed a trick here and that is a real shame.  With the absence of Hayward from this production (in a lead role, at least), it was the perfect chance for others to have some limelight.  Surely the more wonderfully trained British dancers that can be highlighted, the better?  Not sure what the press office was doing with this one.

[Xandra Newman]

8 minutes ago, zxDaveM said:

Think ROH/RB could do more to 'advertise' the new dancing talent, though they seem to concentrate on Francesca Hayward almost exclusively (which I can understand, as she is rather wonderful). Another feature with her in the Standard last night, for example. And critics came to see her shows, as well as opening night ones as a result.

 

Perhaps 'word-of-mouth' from fans to other interested people, may have to suffice for now, until the groundswell is recognised by the powers that be

 

Yes she's absolutely wonderful but so are a handful of other dancers! Why the ROH/RB Press always focusses on just one dancer is a mystery. Her debuts are always covered in the Press and the RB Press ensures it always is! Their attitude is getting monotonous.

[Bluebird]

35 minutes ago, Sim said:

  I am very disappointed that NOT ONE critic has bothered to write about Yasmine's debut in the role of Odette/Odile.  

 

The Dancing Times usually reviews important debuts.  In the June edition, Jonathan Gray writes:

 

"With many casts yet to appear, including the new Swan Queen of Yasmine Naghdi, I will concentrate this month on the production itself, returning to individual performances in July."

 

From that, I think we can safely assume that Yasmine Naghdi's debut will be reviewed in the July edition.

[Xandra Newman]

7 minutes ago, Sim said:

Exactly.  They missed a trick here and that is a real shame.  With the absence of Hayward from this production (in a lead role, at least), it was the perfect chance for others to have some limelight.  Surely the more wonderfully trained British dancers that can be highlighted, the better?  Not sure what the press was doing with this one.

 

No doubt if Miss Hayward had made her debut as O/O the RB press and national press would have made a big thing of it. 

Matthew Ball, William Bracewell as the new Siegfrieds, and Naghdi as the new O/O were largely ignored.  

[Sim]

Thanks Bluebird.  I guess we will all have to cling onto that one nugget.

[Xandra Newman]

10 minutes ago, Sim said:

Thanks Bluebird.  I guess we will all have to cling onto that one nugget.

 

Good to know that at least Jonathan Gray of the Dancing Times will have bothered. 

[Lizbie1]

20 minutes ago, Xandra Newman said:

Why the ROH/RB Press always focusses on just one dancer is a mystery. Her debuts are always covered in the Press and the RB Press ensures it always is!

 

I've asked this before with no reply, but is there a shred of evidence that the greater publicity afforded to Hayward since Naghdi also became a principal has been driven by the RB Press Office rather than by the press themselves?

 

I think the problem is more likely to be general inactivity on their part rather than favouring one over the other.

Edited June 19, 2018 by Lizbie1

[alison]

1 hour ago, Sim said:

I agree BridieM.  What I meant was that it is a shame that no newspaper or magazine seems to think it worthy to send their critics to more than one performance of a new production of the most famous ballet on earth, especially when there are some great debuts, and all three by (dare I say it) English dancers, which could be of interest to many people.  Some critics do tweet their opinions on things, but 140 words (or whatever it is now) doesn't cut it in the same way.  

1 hour ago, bridiem said:

I'd be surprised if some of them weren't at other performances, even if they weren't then able to write about them. Either way, it's very frustrating.

 

Some certainly were.  Whether they will get the opportunity to write about them is I guess another matter.  Remembering the days when The Times at least might review more than one cast over the course of a run, I wonder whether that still happens at all now?  It seems that the pressure on Arts coverage in the printed press has got so intense that I sometimes feel we should be grateful for the small morsels we do get (not to mention some of the less-than-expert reviews).

 

1 hour ago, Mary said:

Quite so Sim. But there has been so much ballet on in London in recent weeks with very fine performances wherever you look! Maybe that is to do with it. I was disappointed though not surprised to see so little made of the new RB Swan Lake production in the media generally; once upon a time, the Royal Box would have been full of dignitaries, it would have been mainstream news..

 

Yes, the "if it's Tuesday this must be ..." effect   I admit, I have been bemused by the lack of media coverage given to what is a major event in the arts field (a piccy of Muntagirov and Nunez in the new costumes?  Cuthbertson on the front page of The Times in a practice tutu?!  Give me strength.).  Given the BBC News' tendency to have Arts features on the main news programme, I was certainly expecting Will Gompertz to have done something on it, in the same way that, say, new art exhibitions have been covered, but if there was anything I missed it.  What about the radio arts programmes?  I wasn't there for the first night, so I don't know about dignitaries or the lack thereof (or have they all been replaced by Celebs now?).  I know there was clearly no need to sell tickets, but there was certainly plenty of opportunity to plug the live relays, and prepare the ground for the inevitable DVD release.

 

49 minutes ago, Xandra Newman said:

 

No doubt if Miss Hayward had made her debut as O/O the RB press and national press would have made a big thing of it. 

Matthew Ball, William Bracewell as the new Siegfrieds, and Naghdi as the new O/O were largely ignored.  

 

Please let's not have this thread descend into another one of those "Naghdi vs. Hayward" battles   

[Bruce Wall]

Wondering if the press commentaries might be of sufficient interest to have their own slot on the forum.  Getting back to the subject of this strand's hand - I agree whole heartedly with ALL that was said about last night.  So Magical and Naghdi is just that - a magician - weaving music in a distinct fashion that is uniquely her own.  Bonelli was the proud purveyor on our behalf last night.  His genuine responses made such a difference (for me at least) from those in her earlier performances.  Still I really dipped into this conversation on the new SL simply to pay homage to Dyer as Benno - Have seen him twice in the role now and I thought he was truly outstanding.  So lovely to see him smile.  It makes such a difference.  He seemed to come out of himself somehow.  Also glorious to see how Gartside has honed his VR since the opening.  It is now (at least for me) much more streamlined in its intent than it was initially.  I noticed - at the end of the first act where Avis dramatically morphs into VR to legitimate theatrical effect - (and I do understand that people seeing SL for the first time might well be a tad confused - or concerned for the performer's health and safety at this) - that Gartside simply pauses momentarily and then dashes off in a changed direction - with determined intent .  That is equally impressive. (I'm not, of course, suggesting that the urgent costume/makeup change has anything to do with his focused thrust  )

Edited June 19, 2018 by Bruce Wall

[Xandra Newman]

Alison, it's not a battle at all but a simple observation, an observation which is talked about amongst balletgoers. They are both wonderful artists, amongst a few others.

 

[alison]

Even from my appallingly restricted-view place last night (couldn't even see the transformation scene at the beginning), I found myself from the start drawn into this performance in a way none of the previous ones had done.  Instead of wishing I could push the FF>> button and/or take a quick nap, I found Acts I and II simply flew by - as did the rest of the evening, now I come to think of it.  Although I was disappointed to see barely nothing of Bonelli in the early stages, I was at least able to console myself to quite an extent by watching James Hay, and concentrating on some of the obvious talent in those parts of the corps I could see.  I don't know to what extent this was down to the performers, or whether it was just me adjusting to the production, but I'm now tempted to see if I can get a return for Thursday night so I can work out whether it was simply a one-off  

[capybara]

I was devastated not to have been able to get a ticket for last night and was delighted to hear that Yasmine Naghdi's O/O was wonderful, especially in combination with Bonelli.

 

Along with Bluebird, I noticed with hope the intention of the Dancing Times to cover various performances in its July edition. [I also noticed expectantly that the publicity for the R&J screening features Naghdi and Ball.]

 

As far as performances, cinema screenings and DVDs are concerned, the leads I most want to see now (in alphabetical order) are: Ball, Bracewell, Corrales, Clarke, Hayward, Muntagirov, Naghdi and Takada plus Bonelli for Mayerling (although we know that that  isn't going to happen).

 

 

Edited June 19, 2018 by capybara

[alison]

6 minutes ago, Bruce Wall said:

Also glorious to see how Gartside has honed his VR since the opening.  It is now (at least for me) much more streamlined in its intent than it was initially.  I noticed - at the end of the first act where Avis dramatically morphs into VR to legitimate theatrical effect - (and I do understand that people seeing SL for the first time might well be a tad confused - or concerned for the performer's health and safety at this) - that Gartside simply pauses momentarily and then dashes off in a changed direction - with determined intent . 

 

Although he did clutch at his chest or something as he did so - that I could see.

 

I think credit is due to Bonelli this run, too: how many different Odette-Odiles has he had?  3?  You wouldn't have known it.

[bridiem]

47 minutes ago, Xandra Newman said:

The RB Press could have/should have made an even bigger "Swan Lake"  hype by highlighting their new Odette/Odille and the two new Prince Siegfrieds, all been trained in the UK. It would have made an excellent case for and illustration of the very high standard of UK training! 

 

Quite. But I also think that the press has a very limited and herd-like view of what they should write about now. e.g. those Erdem costumes, which got more publicity than the whole of the new SL (and were awful). If something doesn't fit into some current cultural #trend, it won't get much or any coverage.

[bridiem]

6 minutes ago, capybara said:

I was devastated not to have been able to get a ticket for last night and was delighted to hear that Yasmine Naghdi's O/O was wonderful, especially in combination with Bonelli.

 

I was devastated that it clashed with England's first World Cup match!! To which I had to give priority. (And at least we won.)

[alison]

8 minutes ago, Xandra Newman said:

Alison, it's not a battle at all but a simple observation, an observation which is talked about amongst balletgoers. They are both wonderful artists, amongst a few others.

 

It may not be a battle, Xandra, but it sometimes feels like it on these pages, and the tone, I suspect, can at times make visitors to the site feel uncomfortable.  As you say, they are both wonderful artists, and we should appreciate both of them equally for their marvellous abilities and gifts, whereas it sometimes feels as though people are attempting to elevate one of them by doing the other one down.

[Sim]

Just a few more words about last night’s sublime performance.  Having seen three of Yasmine Naghdi’s four performances of Swan Lake,  it is amazing how, over the course of just four outings in this most difficult of roles, she has matured into it so much.  It is now inside her, a part of her being, and it always will be.  Once she nailed the technical and main dramatic requirements of the role, she could relax and concentrate on all the other nuances that make the difference between a good and a great O/O.  Last night, dancing with Federico Bonelli, she could not only relax, but could interact with him in a way that she couldn’t with Kish, because Federico was her equal, especially from the interpretative aspect.  Oh my goodness, how he looked at her.  How he looked after her, and protected her.  It was as if he just couldn’t believe his luck, and knew that he had to protect this vulnerable creature from that nasty world near and away from the lake.  Naghdi’s incredibly seductive Odile rendered him almost unable to move, and unable to think straight.  He made very clear that he was totally smitten, in love and in lust.  Naghdi played off this, and gloried in the power she wielded over this pathetic prince whom she could manipulate with one look.  Gosh, Act 3 gave me shivers for all kinds of reasons, and that was before those amazing fouettes and his joyful solo variation.  The pdd brought the house down, and rightly so.

In Act 4, my choking up started when Bonelli gave one of the most heartfelt (and deep) bows of apology to his desperate Odette that I have ever seen.   He seemed to be almost in tears when he ran onto the stage during that beautiful music.  Then, Naghdi’s heartfelt and utter despair at the beginning of their pdd increased the lump in my throat.  The contrast between her head telling her not to trust him, and the yearning of her tormented heart to reach out and show that she still loved him, made this pdd so real.   I am sure many of us have all felt this way, and could certainly relate to what she was feeling.  The clarity of both these dancers throughout the whole ballet was a joy to behold.  Their mime, the looks they shared….so intimate and yet so clear to everyone, the chemistry they have, their ability to tell us everything we need to know, and more, through the physical expression of their dancing, their innate passion….this partnership works.  For the first time in this run, I could understand the ending, and the way Bonelli was cuddling his dead Odette, with a sad but redemptive look on his face (similar to Albrecht at the end of Giselle:  he knows that she will always be with him) as her spirit appeared over him, just about finished me off.   It was sublime.  The whole evening was simply sublime.    

There were of course other people involved in making last night so special.  Tristan Dyer was a fine Benno, and Claire Calvert and Beatriz Stix-Brunell were lovely as his sisters.    Elizabeth McGorian gave us a sadly melancholy and dignified Queen, and Benn Gartside a menacing but slightly understated Von Rothbart.  The corps were simply beautiful. 

However, the evening belonged to Naghdi and Bonelli.  People have been saying that this will be her signature role.  May I venture that it already is? 

[alison]

4 minutes ago, bridiem said:

 

Quite. But I also think that the press has a very limited and herd-like view of what they should write about now. e.g. those Erdem costumes, which got more publicity than the whole of the new SL (and were awful). If something doesn't fit into some current cultural #trend, it won't get much or any coverage.

 

Or is it what the press office thinks they should write about?  "Okay, we've got a triple bill of works set to music by Leonard Bernstein, who many people probably won't even have heard of.  What can we do to get some press coverage?  Ah, the costumes for one of them are designed by a famous fashion designer ..."

[bridiem]

1 minute ago, alison said:

 

Or is it what the press office thinks they should write about?  "Okay, we've got a triple bill of works set to music by Leonard Bernstein, who many people probably won't even have heard of.  What can we do to get some press coverage?  Ah, the costumes for one of them are designed by a famous fashion designer ..."

 

Well perhaps the Press Office knows how shallow the press is and so gives them what they want. But it would be good if some attempt could be made to influence the agenda rather than simply respond to it.

[alison]

3 minutes ago, Sim said:

However, the evening belonged to Naghdi and Bonelli. 

 

Are they now dancing together in Spain?  I think I noticed that Naghdi had been moved into the casting somewhere - probably replacing Cuthbertson?  Lucky Spain, if so.

[alison]

Just now, bridiem said:

 

Well perhaps the Press Office knows how shallow the press is and so gives them what they want. But it would be good if some attempt could be made to influence the agenda rather than simply respond to it.

 

Indeed.  There's nothing like slightly challenging people.  Mind you, I suppose it did extend coverage beyond the usual suspects into the fashion press, so may ultimately have done some good, I suppose - not that I think it would have had any effect on ticket sales at that late stage.

[Sim]

7 minutes ago, alison said:

 

Are they now dancing together in Spain?  I think I noticed that Naghdi had been moved into the casting somewhere - probably replacing Cuthbertson?  Lucky Spain, if so.

Yes, I believe they are.

[zxDaveM]

36 minutes ago, Sim said:

  People have been saying that this will be her signature role.  May I venture that it already is? 

 

that may well be, but Yasmine will always be my favourite Giselle too!  🙂

 

(then add in Aurora, Juliet - and even stealing the show as the 'ballerina' in Anastasia - a star of the highest order has blossomed, I reckon!)

[Sim]

8 minutes ago, zxDaveM said:

 

that may well be, but Yasmine will always be my favourite Giselle too!  🙂

 

(then add in Aurora, Juliet - and even stealing the show as the 'ballerina' in Anastasia - a star of the highest order has blossomed, I reckon!)

Totally agree Dave....it is hard to choose, but for me this was something above and beyond!

[zxDaveM]

4 minutes ago, Sim said:

Totally agree Dave....it is hard to choose, but for me this was something above and beyond!

 

indeed - both the last two shows were sensational (I thought last week's with Kish was too - I thought he was a good foil for her, and partnered superbly - e.g. that act 3 balance, he just had the confidence in her to let her get on with it, Bonelli seemed more cautious and was too early in 'catching' her I reckon 🙂  ).

I was so glad I managed to get a ticket for last night - I would have been bereft form all the reports, had I not! Its great that everyone else now seems to get 'it' - my cheers were drowned out last night by eveyone else's!!

[JohnS]

Many thanks for last night's posts - I wish I could have been there for what was clearly a fabulous evening.

 

Would someone be able to offer any thoughts on the Neapolitan dance - was it Anna Rose O'Sullivan/Paul Kay?  I haven't managed to see this couple and would be very interested to hear how they did (if they were dancing).

[Xandra Newman]

Last night the Neapolitan Dance was performed by Romany Pajdak and Paul Kay and they were an absolute joy to watch.