The Royal Ballet: New Swan Lake Production, Summer 2018

[Shya100]

3 hours ago, Xandra Newman said:

 

https://www.roh.org.uk/showings/romeo-and-juliet-live-2019

 

Naghdi & Ball are on the "Romeo & Juliet" poster for the live cinema season on 11 June 2019 so I guess this is an indication they will dance the worldwide cinema relay next Season.

 

We have seen the older principals so often and I think it's time for Management to show the world their younger principals.

 

I was not aware but that would indeed be marvelous for both.

 

And yes please do not make this Hayward/Naghdi it is wearing at times. Press is as press do.

[Jan McNulty]

I'm afraid I find the comments about the press and how many (or not) performances of the RB they review absolutely hilarious.  You should try looking for press coverage for anything outside London weeks for BRB and NB.  We followers of those companies have seen major premieres (and lots of stuff not taken to London) with no-one other than local press present!

 

Doing the links is something of an eye-opener.  Over the last couple of years since I started the Arts coverage has started to shrink beyond belief (all over the areas I cover in culling the links).  Even when a performance is reviewed there seem to be fewer words allowed.

 

One or two critics do have blogs (but very rarely do the ones I watch write about dance).

[John Mallinson]

London performances are very well served by reviews, albeit your favourite performers may not be mentioned and some are pretty brief. The RB's Swan Lake had 24 reviews, mainly of the first night cast, BRB's Sadler's Wells season has had 20. I can't think of any other (anglophone) city that has such coverage.

 

 

 

[Bruce Wall]

35 minutes ago, Jan McNulty said:

I'm afraid I find the comments about the press and how many (or not) performances of the RB they review absolutely hilarious.  You should try looking for press coverage for anything outside London weeks for BRB and NB.  We followers of those companies have seen major premieres (and lots of stuff not taken to London) with no-one other than local press present!

 

Doing the links is something of an eye-opener.  Over the last couple of years since I started the Arts coverage has started to shrink beyond belief (all over the areas I cover in culling the links).  Even when a performance is reviewed there seem to be fewer words allowed.

 

One or two critics do have blogs (but very rarely do the ones I watch write about dance).

 

Good on you, Janet.

 

Should not this discussion be on a separate strand (given that this one is dealing with the RB's Swan Lake 2018)???  It is worthy of being I think.  

[Xandra Newman]

56 minutes ago, Jan McNulty said:

I'm afraid I find the comments about the press and how many (or not) performances of the RB they review absolutely hilarious.  You should try looking for press coverage for anything outside London weeks for BRB and NB.  We followers of those companies have seen major premieres (and lots of stuff not taken to London) with no-one other than local press present!

 

Doing the links is something of an eye-opener.  Over the last couple of years since I started the Arts coverage has started to shrink beyond belief (all over the areas I cover in culling the links).  Even when a performance is reviewed there seem to be fewer words allowed.

 

One or two critics do have blogs (but very rarely do the ones I watch write about dance).

 

You surely have a very valid point Janet, one I do appreciate ( I guess we here in London, incl. myself, act a bit as "spoilt brats") 

[Richard LH]

3 hours ago, Sim said:

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. 

The beauty of the miming in this  SL is one of its best features. I gather some of it is left out in other companies' SL productions which is surely a big mistake - I think wonderful ballet depends so much on the characterisation, the interaction between the principals, and telling a story. This is something the RB does so well. 

To keep hearing how great Nagdhi has been in her SL debut is bitter-sweet for those who have not been able to see her live, nor on any live screening, or the forthcoming DVD (if any)!

[Sim]

You are right, Richard, the mime sequences really enhance the narrative of this ballet, and I have never understood why most other companies have dropped it.  Same goes for Berthe's mime in Giselle;  dropped by many for some unknown reason, yet telling very clearly the story of the Wilis.  Again, the music is telling us what should be there, and if it isn't, you notice the gap.  Well done to the RB for keeping this in their productions.  

 

Regarding Yasmine Naghdi, let's hope that next time she may at least get the live screening.  If they make a DVD of this run then there won't be another one in two years.  If they don't make one of this run, let's hope that Naghdi will feature in the one they DO make!  

[bridiem]

1 hour ago, Jan McNulty said:

I'm afraid I find the comments about the press and how many (or not) performances of the RB they review absolutely hilarious.  You should try looking for press coverage for anything outside London weeks for BRB and NB.  We followers of those companies have seen major premieres (and lots of stuff not taken to London) with no-one other than local press present!

 

Doing the links is something of an eye-opener.  Over the last couple of years since I started the Arts coverage has started to shrink beyond belief (all over the areas I cover in culling the links).  Even when a performance is reviewed there seem to be fewer words allowed.

 

One or two critics do have blogs (but very rarely do the ones I watch write about dance).

 

I understand what you're saying, Jan, but there used also to be more reviews of performances outside London. The reduction in the number/range of reviews of the RB in the national press is reflective of the general decline. If the RB is getting fewer reviews for a major new production, it bodes ill for ballet coverage generally.

[Shya100]

1 hour ago, bridiem said:

 

I understand what you're saying, Jan, but there used also to be more reviews of performances outside London. The reduction in the number/range of reviews of the RB in the national press is reflective of the general decline. If the RB is getting fewer reviews for a major new production, it bodes ill for ballet coverage generally.

 

Totally of topic but. The press are going through difficult times. Terrible for them and they are really as good as going out of business. I think they review a lot and the shift has been for people and companies to move to multi media platforms. Which the RB do amazingly well. Even look at the individual dancers. Instagram accounts galore which by and large prompt their careera with little private content. Any communicatoons department would urge this. I really would not be worried about reviews. Time is moving on.

[alison]

9 hours 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.

 

 

That wasn't a feature, it was a brief article because an artist had painted her portrait.  I was expecting a 2-page spread from what you said (and even picked up a copy specially!)

[jmhopton]

10 hours ago, Xandra Newman said:

 

https://www.roh.org.uk/showings/romeo-and-juliet-live-2019

 

Naghdi & Ball are on the "Romeo & Juliet" poster for the live cinema season on 11 June 2019 so I guess this is an indication they will dance the worldwide cinema relay next Season. 

 

We have seen the older principals so often and I think it's time for Management to show the world their younger principals.

 

Hear, hear, Xandra. Just looking at the cinema poster is getting me excited!! I must try and get one after the screening. I too have been saying that Management (this means you Mr O'Hare) need to occasionally show off our splendid younger principals in the cinema relays. Wonderful as Vadim and Marianella are we need to show we have strength and depth in the Company and don't need to rely on the same few dancers for an amazing, emotional performance. Apart from the terrific performance I'm sure Matthew and Yasmine will give it's brilliant that they are being cast together again as they had such a wonderful partnership going before being cast with other partners. It would be great to see them in 2 Pigeons and any other classical roles. I thought it strange they didn't film Hayward's Sugar Plum Fairy Nutcracker last Christmas to complement the splendid BBC doc. about her Nutcracker.

[Richard LH]

3 hours ago, Shya100 said:

 

Totally of topic but. The press are going through difficult times. Terrible for them and they are really as good as going out of business. I think they review a lot and the shift has been for people and companies to move to multi media platforms. Which the RB do amazingly well. Even look at the individual dancers. Instagram accounts galore which by and large prompt their careera with little private content. Any communicatoons department would urge this. I really would not be worried about reviews. Time is moving on.

Interesting viewpoint Shya... I wonder how many ballet aficionados, or even casual ballet-goers, form their opinions  and  ticket buying decisions, on any reviews in the popular press these days. The more informed, specialist reviews in dance publications is perhaps another matter......

 

[jmhopton]

5 hours ago, Sim said:

Regarding Yasmine Naghdi, let's hope that next time she may at least get the live screening.  If they make a DVD of this run then there won't be another one in two years.  If they don't make one of this run, let's hope that Naghdi will feature in the one they DO make!  

 

Yes, I totally agree, Sim. However I'm not sure if Management will want a dvd of a brand new Swan Lake danced by a relatively unknown principal (though hopefully she will be better known in 2 years time). However, if they decide to do a dvd with Yasmine I'm going to contradict what I said in my previous post and ask that it will be with Vadim. I think the two of them together could produce a glorious, world class unbeatable performance that no one seeing it will ever forget.

[Ivy Lin]

I just saw the cinemacast. A few thoughts:

1) I don;t agree with the artistic decision to begin the white swan pas de deux with a soulful look into Siegfried's eyes. I think in the beginning there should be some fear, and one of the beauties of the white swan pas de deux is how that fear gradually dissipates. I think the loving glance Nunez gave Muntigarov was just not a choice I agreed with.

2) I liked the ballroom scene. I found it easier on the eyes than the Dowell production. 

3) I wasn't a fan of the ending. I feel like there's two ways to approach the SL ending: either the spell is broken by the double deaths of Siegfried and Odette or in the Mariinsky version the spell is just broken; or 2) the spell is not broken period. Both can be very effective endings. The spell is broken but Odette still dies while Siegfried lives doesn't work for me.

4) Nunez is definitely IMO a more natural Odile than Odette. I felt that oddly she's more effective when forced to step outside her normal comfort zone. Her Odile was exactly the kind of sexy, enticing woman you could see Siegfried falling for. And of course her fouettes and variation was amazing.

5) Way too many close-ups. This was really distracting for Muntigarov as sometimes I felt like his expressions tended towards the reserved, while Nunez tended to over-emote. In the theater these differences wouldn't be so obvious. Up close you could see it.

[jmhopton]

Just had a couple more thoughts. First in the cinema performance I loved being able to see the dirty looks and rebellious mutterings the other princesses gave to Odile for annexing 'their' prince. I thought all the people in the 'background' stayed splendidly in character and really added to the performance. They weren't just there to make up the numbers and fill the court.

 

Also something that has just occurred to me, if Siegfried's father has died surely he is now king? Or is he too young and his mother is acting as a sort of Regent figure? But surely there can't be a power vacuum and  it can't be realistically filled by Von Rothbart however much he would like it to be?

[Blossom]

Just back from tonight’s performance. Unfortunately I wasn’t feeling well at all in Act 3 so had to duck out during the big pdd. I missed both Ball and Osipova’s solos and was in a cab by the time Act 4 began. While I was getting some fresh air I heard that Osipova again broke convention and didn’t go for the fouettés.

 

My take outs outs from this run:

 

I don’t usually see more than one performance in a run but it definitely had its benefits - I discovered more of the storytelling on a second viewing and a completely different seat gave a wonderful view of all the floor patterns in the big corps de ballet scenes of Act 1 and 2.

 

My favourite Odette /Odile would be ranked as follows:-

 

Naghdi

Nunez (Insights rehearsal)

Osipova

 

All 3 have something special to offer and I feel very spoilt to have seen them all. Glad that I saw Naghdi’s debut - plus the only one I have seen from beginning to end.

 

My order of preference for Siegfried:-

Ball 

Muntagirov (Insights rehearsa)

Kish (a great, supportive partner but did not really get him in the role otherwise)

 

Ball’s stage presence and quality of dancing were fabulous and he is definitely Principal material. I was thrilled to see him with Osipova having seen him save the day when Hallberg was injured in the Giselle run. Fingers crossed for promotion news. 

 

Gasparini is a joy to watch. She has a smile which no doubt projects to the back of the amphi. Hope she is rewarded with a promotion.

 

Tierney Heap is an excellent Dancer in the right role, but playing the ‘leaping’ sister in the 2 x pdt just didn’t suit her. Would love to see her play soloist roles in some Macmillan ballets.

 

Hard to choose. Benno, loved both Ella and Sambe!

[alison]

Good points, Ivy - thanks.

 

1 hour ago, jmhopton said:

Just had a couple more thoughts. First in the cinema performance I loved being able to see the dirty looks and rebellious mutterings the other princesses gave to Odile for annexing 'their' prince. I thought all the people in the 'background' stayed splendidly in character and really added to the performance. They weren't just there to make up the numbers and fill the court.

 

One of the joys of it being a Royal Ballet production, of course.  *That* is how you let the influence of MacMillan in particular permeate your production - not having cadets throwing up and tutors getting drunk

[alison]

Hope you feel better soon, Blossom.

[serenade]

2 hours ago, Blossom said:

While I was getting some fresh air I heard that Osipova again broke convention and didn’t go for the fouettés.

 

Yeah she did the turns again instead which I was underwhelmed by.  And that part of act 3 is really not when you should feel underwhelmed.  The audience went mad for them though, people seemed to love the alternative.

 

I'm not bothered that she substituted them... I just didn't like the way she did the turns.  She span as fast as humanly possible round the stage with so much attack...like the kind of attack that would be brilliant in Don Q but just didn't work for this (in my opinion anyway, as I say it got a massive cheer).  My biggest problem was it didn't sit right with the music, and also Odile is a woman with a plan.  Everything she does is controlled and for a reason so why then would she spin with wild abandon.  It didn't make much sense for the character.  

 

This was my first time seeing it in person as I just saw the cinema broadcast before.  I don't think the cinema does the Act 3 set justice...I thought it looked great at the time but wow, it is absolutely stunning.  The corps were amazing, Avis was an excellent Von Rothbart, Sambe was a brilliant Benno- he makes everything look so effortless and I thought Hannah Grennell and Luca Acri were particularly good in Czardas.  

 

Natalia of course danced amazingly and Matthew was outstanding.  I thought he gave a real principal performance.  Unfortunately I just don't feel like Natalia and Matthew have a lot of chemistry together.  I didn't feel the connection between them until really near the end so I couldn't really get hugely emotionally invested in it.  I love Natalia, she's one of my absolute favourites but I think maybe I'm just not so keen on her in this role.  I'm not sure why as I think she's an amazing dancer and actress but her interpretation doesn't really move me which is a shame.

 

 

[Jamesrhblack]

Managed to get to the cinema broadcast and, with some luck, Naghdi / Bonelli on Monday and Osipova / Ball last night.

 

Still musing on the dancing (and the broadcast in Newcastle was almost too dark to see) but a couple of reactions to the production. 

 

Initially, I wasn’t struck by the need for the Prolopgue. Further viewings have, of course, brought home how vital this is as a framing device.

 

Am I alone in finding the vision of Odette at the end rather sentimental? Perhaps I’m influenced by a very early memory of the Nureyev film with the drowned Prince dead in Benno’s arms and Odette still in swan form floating away but, essentially, the plot is one of human failure and I think that could work strong;ly. I accept that there elements of apotheosis about the music but that could also work in terms of the self knowledge Siegfried appreciating the enormity of what has happened through his folly.

 

Perhaps one shouldn’t be too literal. By giving Rothbart a place at court (but why is he clean shaven rather than with a red beard?) it then makes no sense in Act Three that nobody realises he has a “daughter,” and if she isn’t his daughter why does he introduce / chaperone her through one of the shortest courtship to engagement rituals out there. And if Siegfried survives does this mean that he then has to marry Odile and be faced with a living identkikit memorial of what he has lost. I’m not being intentionally facetious but I’m not always sure “realism” has to have a place within a wider symbolic context.

 

Loud Hurrahs for getting rid of the Drunken Tutor. 

 

Seen from the Balcony, the floor patterns in Act Four are really beautiful and I think Liam Scarlett has done some wonderful work here, as well as in the pas de deux of Farewell (wasn’t this music used in Act 4 of the Ashton version), although I’m not the only one it seems concerned that Siegfried is “hors de combat” for so long at the climax.

 

Overall, I like the production very much and am sure that there will be tweaks when it returns, as it’s surely must, the season after next. Thoughts on the dancers possibilities to follow, although I’m wary as not everything was to my liking and I realise that any hint of adverse obesrvation tends to get jumped on.

 

 

Edited June 20, 2018 by Jamesrhblack
Amendment

[Sim]

I agree, Serenade, with your opinions on last night.  I am at work so can't write much, but I didn't feel anything at all between Matthew and Natalia, even though he tried very hard.  She just didn't open herself up to him emotionally.  I didn't like her interpretation of the swan the other times I have seen her, but thought I would give it another go in this new production, mostly because I wanted to see Matthew.  My opinion hasn't changed, sadly, so I won't be seeing her again.  I just love her in other things (Giselle, Onegin, M&A, Month in the Country, Manon)  but for me, this is definitely not her role.  Matthew is such a noble and dignified and passionate prince;  how I would have loved to see him dance this with Miss Naghdi.  Together, they would have been sensational.  An error of judgement there from Mr O'Hare, in my opinion.  

[Sim]

6 minutes ago, Jamesrhblack said:

Overall, I like the production very much and am sure that there will be tweaks when it returns, as it’s surely must, the season after next. Thoughts on the dancers possibilities to follow, although I’m wary as not everything was to my liking and I realise that any hint of adverse obesrvation tends to get jumped on.

 

 

Don't be wary, James, please go ahead and say your piece.  If anyone jumps on you, the moderators will be jumping on them.  As we keep reiterating, we encourage debate on this forum, but if anyone does it rudely we will take action.  "I may disagree with what you say, but I will fight to the death for your right to say it"  is our philosophy (well, metaphorically!!).

[Jamesrhblack]

Thanks Sim, I was really discouraged post Giselle with one or two very sharp retorts so I’ll consider my thoughts and determine whether or not I’ll post them.

[capybara]

7 minutes ago, Sim said:

I agree, Serenade, with your opinions on last night.  I am at work so can't write much, but I didn't feel anything at all between Matthew and Natalia, even though he tried very hard.  She just didn't open herself up to him emotionally.  I didn't like her interpretation of the swan the other times I have seen her, but thought I would give it another go in this new production, mostly because I wanted to see Matthew.  My opinion hasn't changed, sadly, so I won't be seeing her again.  I just love her in other things (Giselle, Onegin, M&A, Month in the Country, Manon)  but for me, this is definitely not her role.  Matthew is such a noble and dignified and passionate prince;  how I would have loved to see him dance this with Miss Naghdi.  Together, they would have been sensational.  An error of judgement there from Mr O'Hare, in my opinion.  

 

 

Completely agree, Sim. At one of their shows, I was very near the stage and, while Matthew was completely in the role and living every moment, Natalia's face didn't show him (or me) that she was feeling anything.

[Sim]

8 minutes ago, Jamesrhblack said:

Thanks Sim, I was really discouraged post Giselle with one or two very sharp retorts so I’ll consider my thoughts and determine whether or not I’ll post them.

Well I for one am very interested to hear your thoughts....especially if they are very different from most other people's!  It would be boring if we all thought the same thing across the board!

[Xandra Newman]

51 minutes ago, Sim said:

I agree, Serenade, with your opinions on last night.  I am at work so can't write much, but I didn't feel anything at all between Matthew and Natalia, even though he tried very hard.  She just didn't open herself up to him emotionally.  I didn't like her interpretation of the swan the other times I have seen her, but thought I would give it another go in this new production, mostly because I wanted to see Matthew.  My opinion hasn't changed, sadly, so I won't be seeing her again.  I just love her in other things (Giselle, Onegin, M&A, Month in the Country, Manon)  but for me, this is definitely not her role.  Matthew is such a noble and dignified and passionate prince;  how I would have loved to see him dance this with Miss Naghdi.  Together, they would have been sensational.  An error of judgement there from Mr O'Hare, in my opinion.  

 

For the same reasons I have not commented on Osipova's O/O. I didn't like her interpretation at all and she never moved me (don't take me wrong as there are roles in which I do like Osipova, just totally not as Odette/Odile!). It has been said from the very start when the casting came out: Naghdi should have been cast with Ball as these two dancers would have made an extra sensation of the new Swan Lake. Mr O'Hare and Liam Scarlett should have pounced on this opportunity to cast them together at the end of what was a great Season! 

[standingticket]

8 hours ago, serenade said:

12 hours ago, Blossom said:

While I was getting some fresh air I heard that Osipova again broke convention and didn’t go for the fouettés.

 

Yeah she did the turns again instead which I was underwhelmed by.  And that part of act 3 is really not when you should feel underwhelmed.  The audience went mad for them though, people seemed to love the alternative.

 

I'm not bothered that she substituted them... I just didn't like the way she did the turns.  She span as fast as humanly possible round the stage with so much attack...like the kind of attack that would be brilliant in Don Q but just didn't work for this (in my opinion anyway, as I say it got a massive cheer).  My biggest problem was it didn't sit right with the music, and also Odile is a woman with a plan.  Everything she does is controlled and for a reason so why then would she spin with wild abandon.  It didn't make much sense for the character.  

 

Interestingly the Royal Ballet have just responded to a tweet I've just read asking about the substitution, to explain that it was done to avoiding aggravating a niggling foot injury.

Edited June 20, 2018 by standingticket

[Sim]

Yes I had heard that a couple of weeks ago....but those turns didn't exactly look as if they were the easy option!  

[standingticket]

No indeed, not easy at all. However, perhaps the fact that the whole of the preceding solo is on the same foot as the fouettes was a contributor, and I suppose (inexpertly) that the snatching motion for a fouette is quite different from the pique turns

[MAB]

13 hours ago, jmhopton said:

Also something that has just occurred to me, if Siegfried's father has died surely he is now king? Or is he too young and his mother is acting as a sort of Regent figure? But surely there can't be a power vacuum and  it can't be realistically filled by Von Rothbart however much he would like it to be?

 

He's not of age, it's his 21st remember, so presumably about to become king and I assume his mother is regent, or perhaps like George III his father is in some way incompetent.  On the other hand the title usually goes to the son on his father's death as with baby Henry VI.  Like Tom Stoppard I've always had a problem with why 30 year old Hamlet wasn't king instead of Claudius.

[Jamesrhblack]

It was interesting seeing the new Swan Lake two nights in succession after a rather depressing experience at the cinema in Newcastle where the feed really was too dark to distinguish a great deal. Indeed, it was so discouraging that the friend with whom I viewed and I actually considered returning our tickets for last night. I’m very glad we didn’t and was also very grateful to an inside contact who managed to get me an excellent ticket for Monday when Naghdi was announced to replace Cuthbertson.

 

The atmosphere on Monday was increasingly electric. The audience was almost screaming with excitement during Black Swan (Naghdi’s balance, her foutées, Bonelli’s coda) and even more rapturous at the end. The last time I heard an audience erupt mid show was during Alexander Campbell’s Floimund Variation over a year ago. 

 

This being my first proper viewing of the production much of my initial attention was to the detail of the new staging quite as much as on the dancing but one or two things were immediately clear. I yield no nobody (apart from Janet McN) in my admiration for Alexander Campbell, and yet I felt Benno worked better as danced by Tristan Dyer. AC has become not only a virtuoso dancer but one whose physical projection is that of a principal dancer (it’s been loving to watch that growing since his first principal outing as Colas) and with the additional material he couldn’t help but pull focus appealing as his characterisation is and outstandingly as he dances. Of course, I was watching through the murk of the cinema transmission but even there he shone almost too brightly. Dyer is a dancer of beautiful neatness and clarity with an engaging personality and I thought he was a delight in the role. During the Act 3 pas de trois I loved the new choreography and with a mental ear worm from the Nureyev film almost thought all three, Benno included, were going to foutée at the climax given the preparatory step for the pirouette, this being the music to which Fonteyn does the foutées in the film.

 

Other incidental pleasures: Tierney Heap, who I like very much indeed, is a dazzler in the Spanish Dance and also danced with superb stretch as a Big Swan alongside Nathalie Harrison: it’s lovely to see the latter back on stage and really glowing - one of those under noticed stalwarts on whom a company is based, rather like Romnay Pajdak, who with Paul Kay delivered a spiffing Neapolitan Dance, much neater than what I had observed from the First Cast on screen.

 

Federico Bonelli turned in one of the best performances I have seen from him of late. He’s always a dancer I like to watch for his cleanness and elegance but, apart from that extraordinary Mayerling, he can seem almost too well bred and reserved. On Monday night, he seemed rejuvenated: involved, with beautiful stretch of feet and height of extension and a lovely yearning line in the new solo bridging Acts One and Two. If he seemed to be pushing himself almost to the limit in his Act Three Coda that only contributed to the exilearation of the moment and his solicitous partnering of Yasmine Naghdi brought real dividends in Act Four’s troubled misery.

 

Of course, Yasmine Naghdi was the centrepoint and she confirmed yet again that she is a young dancer of not only outstanding promise but already outstanding achievement. I’m sure it van have been nothing but helpful for her to have undertaken four performances of what is a new role for her in such a short period of time giving her time immediately both to consolidate and develop. The long lines, the fluent musicality, the clear mime as Odette: all of these were to be expected and cherished as experienced. What did astonish me was her glittering virtuosity as Odile. I think there remains work to be done on the balance of that characterisation: a couple of moments were more vamping than glamorous and she doesn’t seem quite to have found the way of showering the putative White Swan within the allure of the Black (and any great characterisation can take a whole career to polish) but her dancing was simply dazzling. I still long to see 32 clean foutées old style but even with a bit of travel her exceptional musicality keep her rhythmically precise even as she produced doubles and, at one point, I think a triple: I can’t recall seeing anything quite like it (I’ve seen Nunez and Lamb execute their doubles but rarely completely on the music).

 

It wasn’t a perfect performance (such things exist only in the imagination) but it was expert, involving, very moving in the last Act and thrilling to see a dancer reaching so early such a level in one of the absolutely cornerstones of the repertoire. The audience’s acclaim was absolutely justified.

 

 

 

 

 

Edited June 20, 2018 by alison
To correct nonsensical predictive text

[Jam Dancer]

1 hour ago, Jamesrhblack said:

Thanks Sim, I was really discouraged post Giselle with one or two very sharp retorts so I’ll consider my thoughts and determine whether or not I’ll post them.

Actually when I get those it makes me more determined to put my thoughts on here. Your opinion is as valid as anyone else’s. Don’t be put off.

[MRR]

Since Osipova turns to the right, her fouettes would be on her left foot whereas she would pique turn onto her right foot. So the pique turns were clearly to avoid aggravating her left foot.

 

Pique turns are not difficult for a technically capable ballerina; however, doing them effectively is. Osipova's pique manege in Giselle was spectacular, begging for a bigger stage (and a faster baton). Whereas her fouettes for whatever reason look awkward, even if she can pump out multiple revolutions. So I doubt I would have felt shortchanged by this substitution in her performance. I certainly don't think anyone would suggest taking her out of the ballet for not doing the fouettes, especially as she has done them in numerous performances.