The Royal Ballet: New Swan Lake Production, Summer 2018

[capybara]

1 hour ago, Sim said:

Indeed....and many thanks.  If only I were rich!!  

 

 For last Monday's performance (Naghdi/Bonelli) and tonight's (Takada/ Bracewell) tickets were simply unavailable - unless one struck really lucky.

 

 

 

[RuthE]

Indeed; I tried to get a return on Monday and there was simply nothing. And tonight, I ended up bumping into bangorballetboy elsewhere as he’d also failed in his hunt for one for this evening.

[LinMM]

Going back to Jamesrhblack comment on Corrales as possible partner for Natalia....well I'm not sure about Swan Lake but could quite fancy the two cast together in Month in the Country next season!! I can see Corrales causing a nice bit of havoc in that ballet!! 

He is a more bravura type dancer like Natalia is but obviously not as experienced as she is and he does look youngish. He may not at first glance be the obvious choice for the tutor in Month but personally I would love to see it and enjoyed Natalia in her role in this last time. 

 

Anyway I might be tempted to "kill" for a Bayadere ticket in November ....I have Nov 5th in mind as seems so appropriate but will see them both together that night. Public booking doesn't open till July 25th so better set an alarm on the iPad for that day!! 

 

Sorry marginally off topic but wanted to get this in before reports on tonight's Swan Lake come in! 

 

 

[LinMM]

And another a bit off topic it seems like tickets for the RBS show on the 8th are also like gold dust!!

[bridiem]

I got a Friday Rush ticket for tonight's performance (tut tut, already overspent), because I hadn't yet seen either Takada or Bracewell, and I'm very glad that I did! I thought they were both wonderful. I found Takada the most delicate, vulnerable and fearful of the Odettes - full of anguish about her captivity to Von Rothbart, and so the most despairing of all when all hope was gone. Such beautiful dancing - yearning, lyrical and yet also expansive. And what an Odile! Full of hatred and contempt for Siegfried, using her pointes to stab the floor (instead of him), and yet somehow tragic in her consumption by evil. The polar opposite of Odette and yet physically the same. Terrifying. Brilliant technically and fast, exciting fouettés. Her Act IV brought tears to my eyes (very inconvenient when using opera glasses...). The tiny shake of the head when Siegfried tries to comfort her, the return to the white swan lyricism and poetry after the harsh cruelty of Odile, the clear-eyed decision to die - heartbreaking. And I loved Bracewell's Siegfried. It's the first big classical role I've seen him dance, and I thought he was elegant, musical, technically proficient and above all an engaged and credible character. Even in the Act III solo he kept in character throughout. He was loving and attentive to Odette, clearly smitten by Odile, and then wracked by remorse in Act IV. Together they were very moving and rightly received a great ovation.

 

I particularly liked Luca Acri's Benno - more reserved than some of the other Bennos, but excellently danced and acted. Magri and Stix-Brunell were the sisters, both wonderful especially Magri who fills every step with life and musicality. Whitehead a truly nasty von Rothbart (who met with a positive hail of boos at the curtain call!). McNally a beautiful and gracious queen - she's beginning to remind me of Genesia Rosato (which is intended as a huge compliment). Lovely Swans from Choe and Calvert, especially the latter who danced with real passion.

 

The corps must be exhausted! They were on good form (except in the first curtain call! Out of sync when it no longer mattered). All were given a single flower (I think - from my faraway rear amphi vantage point) as were the male principals and the conductor.

 

A terrific performance to end the season.

[Sim]

Now I feel even worse! 😛. But thanks for that very evocative review, Bridie.  Next best thing to being there.

[Sim]

56 minutes ago, LinMM said:

And another a bit off topic it seems like tickets for the RBS show on the 8th are also like gold dust!!

They always are!  

[alison]

My one consolation, then, is that I didn't miss James Hay dancing Benno as I had feared (I had a feeling he was in this cast last time I saw it?).  I've not been successful getting a wide range of Bennos in the few performances I've seen - getting Tristan Dyer 3 times didn't leave a lot of options for alternative casts!  Anyway, I look forward to more reports in due course.

[BMC]

Well I have now completed my Swan Lakes (three performances and the cinema Encore, which unfortunately at Westfield Shepherd's Bush was also part of the 'blackout'!).  I have surprised myself by enjoying every minute of every performance - surprised because, for me, Swan Lake is, alongside Romeo and Juliet, one of those ballets that I felt I could do with a several year sabbatical from, having seen so many over the years, and I must admit I didn't feel the general excitement in the run-up to the opening. So very pleased to prove myself wrong!

 

Some rather random and incoherent thoughts:

 

Didn't miss at all: the drunken tutor and annoying (sorry, cute!) little girls; the drunken cadets, the faffing about jumping on and off stools in the Waltz, Siegfried's frilly outfit in Act 3; the princesses all wearing the same frock!

 

Did miss: like many, I just missed Act 4 of the old production. While I did enjoy the new one and feel it works generally, I always found the Anthony Dowell was just so beautiful. Even though the black swans in the corps made no dramatic sense, they were very lovely and the battle between Odette, Siegfried and Von Rothbart was terribly dramatic whereas the new one seems to be over in a flash. I also missed seeing the couple in the 'swan boat' right at the end even if it did occasionally judder across the stage!

 

Loved: the new sets which look so much cleaner and uncluttered, particularly in the first and third acts - the ballroom is incredibly glamorous; the costumes, particularly Odile's black tutu, the Spanish dance (in fact all the national dance costumes) andthe uniforms for the men; the dance for the 4 princesses; the black swans pouring on at the end of Act 3 (really, really effective); the Benno / sisters roles - and numerous other touches.

 

Dancing: first of all the 'wobbles', which brought home a) they are noticeable because we are so lucky to have such high quality dancing just about all the time and b) I find them very endearing because they are so human. I was beginning to think that Yasmine and Francesca were superhuman with nerves of steel as they both sailed through all their recent debuts so magnificently. Shame about the missed lift with Vadim / Marienela - but only selfishly because those overhead lifts are some of my all time favourite lifts. Also shame about Osipova's tumble as she ran on for the Black Swan pas de deux as it seemed to leave her a bit uncharacteristically subdued although, as a fouetté non fan, I found her substituted turns dazzling and wonderful.

 

So, Yasmine - what can you say: stunning debut, very special dancer indeed, just a shame that as Siegrfried, Kish on this occasion seemed to totally lack 'oomph' but all credit to his partnering skills. Marienela - for me, is a world class dancer who always delivers world class performances but doesn't suprise me whereas I am a huge fan of Natalia's unpredictability - you're never quite sure what you are going to get. I also find she has an uncanny knack of making me see steps I've seen a thousand times before look different. I was surprised that other posters thought she didn't connect with Matthew - it looked the exact opposite to me, when she leaned back against him in the second act pas de deux she seemed to be gazing at him in total wonder.  Takada danced absolutely beautifully although I don't know why but her Swan seemed slightly smaller scale than the others I saw although she was lovely and a fabulous Odile.  Vadim - like Yasmine, what can you say, just wonderful and his 'double doubles' simply brilliant. I thought Matthew Ball and William Bracewell were both extremely elegant princes, danced very well indeed and partnered very attentively. I really like watching dancers at this stage of their careers - one minute they are Siegfried, the next they are popping up in other smaller roles. I too was very pleased to have an opportunity to see Bracewell in a major classical role and will look forward to hopefully seeing many more in the future.

 

Other random dance standout for me: Benjamin Ella as Benno, Tierney Heap in the Spanish dance, Mayara Magri as one of the sisters, Kirsten McNally as an autocratic queen and of course the corps. So pleased the tradition of the flower presentation at the end of the run continued and that their very hard work was highlighted in the cinema screening.

 

Finally, the 'thumbs up' photo of Natalia goes into my 'instant cheer me up' collection along with the gap toothed twin carrying Meghan's train at the Royal Wedding and the little girl who interrupted her professor father's BBC interview on Korea!!

 

Finally, finally - huge congratulations to Liam Scarlett and everyone involved with the new Swan Lake. A huge achievement.

[bangorballetboy]

18 minutes ago, BMC said:

So pleased the tradition of the flower presentation at the end of the run continued

 

Just to mention that flowers for the corps presented at the final performance of a run are provided by grateful audience members and not the company.

[BMC]

Thanks for the clarification, BBB - it's a lovely gesture. I hadn't realised it comes from audience members which in a way makes it doubly lovely.

[Sim]

One particular audience member, who also very generously provides the corps with roses at the end of each Giselle run.  It is a lovely gesture, and I am always very moved to see the corps honoured in this way.  Lord knows they deserve it!

[capybara]

1 hour ago, bangorballetboy said:

 

Just to mention that flowers for the corps presented at the final performance of a run are provided by grateful audience members and not the company.

 

And I was looking for the donors and was so sorry to learn on here that they didn't  have a ticket in order to see the looks of delight on the faces of the dancers.

[Rob S]

I'm loving all the photos and little videos of the corps with their flowers on social media 😊

Edited June 22, 2018 by Rob S

[alison]

4 hours ago, bangorballetboy said:

 

Just to mention that flowers for the corps presented at the final performance of a run are provided by grateful audience members and not the company.

 

To whom we, in turn, are grateful

[Richard LH]

19 hours ago, bridiem said:

I found Takada the most delicate, vulnerable and fearful of the Odettes - full of anguish about her captivity to Von Rothbart, and so the most despairing of all when all hope was gone. Such beautiful dancing - yearning, lyrical and yet also expansive. And what an Odile!

I could not agree more...this is what prompted me to see her three times! A lovely review all round, thank you Bridiem. I am so pleased the last performance was such a success.

[capybara]

Everything seems to have been said already about last night but..........

 

I feel that Takada has really upped her game since her first performance in this production. She is a simply glorious Odette and her Odile now feels more forcefully malevolent. Bracewell offers a really believable Prince and his soliloquy in particular was just wonderful. Together they ensured that the run of Swan Lakes and the RB Season as a whole ended on a real high.

 

Thank you to everyone in the Royal Ballet.

 

[Richard LH]

Yes Bracewell has stepped in to take on a very high profile principal role, and performed it with a lovely classical elegance and maturity. Very pleased for him - he is definitely one to watch for the future.

[jmhopton]

I kept meaning to ask and kept forgetting, after the Big screen relay in Trafalgar Square did the cast bus down to Trafalgar Square to take their bows? They always used to do this when it was screened in the Covent garden Piazza but of course it was very convenient then. However, I thought they had been bussed to Trafalgar Square before now. it would only take a few minutes.

[Jan McNulty]

On 22/06/2018 at 20:15, Richard LH said:

Yes Bracewell has stepped in to take on a very high profile principal role, and performed it with a lovely classical elegance and maturity. Very pleased for him - he is definitely one to watch for the future.

 

He already was one to watch when he moved over from BRB!

[JohnS]

Rather suffering from SwanLake withdrawals so I was pleased to see jmhopton's post even if I'm afraid I don't know what the answer is.

 

Wonderful to see the Marianela Nunez fouettés on the Royal Opera House's Facebook page and (sotto voce) I've seen the Act 3 pdd on another page although I rather doubt whether I should have done - fabulous nevertheless.

 

Looking forward to having another read of this thread at some point as it has certainly added massively to my enjoyment of Swan Lake over recent weeks - thank you all.

[alison]

58 minutes ago, jmhopton said:

I kept meaning to ask and kept forgetting, after the Big screen relay in Trafalgar Square did the cast bus down to Trafalgar Square to take their bows? They always used to do this when it was screened in the Covent garden Piazza but of course it was very convenient then. However, I thought they had been bussed to Trafalgar Square before now. it would only take a few minutes.

 

I think they did for maybe the first time it happened - Onegin? - but I don't think they've done it since.  I made a pretty speedy exit anyway, as I had a train to catch.

[capybara]

The RB went from the theatre to the relay venue in Hull, didn't they? I think that there was a time delay in order for that to happen.

They didn't do it in Trafalgar Square for Swan Lake many years ago (Rojo/Acosta) nor on the 12th June. I suppose that there are now so many 'big screens' that it would seem invidious just to appear in one location.

[John Mallinson]

The first relays that I saw were on a screen which was jammed into a corner of the Covent Garden marketplace just outside the Opera House back door so it was easy for performers to come out and take a bow. I also remember one occasion when they appeared in Trafalgar Square but can't remember what or when it was.

 

[jmhopton]

Like John rather suffering from Swan Lake (and Royal Ballet generally)  withdrawal symptoms so I thought I'd keep this thread going a bit longer!

 

Yes I'm sure I saw  Manon on a Covent Garden screen a while ago. I was wondering what I was doing there for a screening not living near London at all but I think it must have been before the live relays so an opportunity to see the RB for free. I used to quite like the Covent garden screenings as if you got there soon enough you could position yourself in front of the crash barriers and have a backrest, as well as being able to make a quick exit at the end. The dancers did come and take a bow at the end but of course it was very easy for them. I didn't think they would keep it up for long once it moved to Trafalgar Square. I did go and see a big screen at Manchester once but not a great experience; too many people walking about and difficult to hear the music. I suspect since the cinema relays the big screen relays might be a bit lower profile as though they are free the venues are not always suitable (designed more for footfall rather than suitability) and many people would rather pay a little and see it in comfort. However, they are a great way of introducing ballet and opera to an audience that may never have experienced either before and an important part of the ROH outreach programme. I just wish they'd select more suitable venues and promote it more widely to councils, most of whom probably don't know it exists. When I mentioned it to Preston Council a few years ago as a suggestion for Preston Guild celebrations (held every 20 years) they did investigate the idea but said the big screen they had (I think brought in for the 2012 Olympics) didn't have enough footfall (I assume the criteria is down to BP rather than the ROH as they're the sponsors?) and it didn't come to anything. However, it may be an idea to mention it to councils as looking at the places screening the Big screen events many are quite small so perhaps criteria has changed or slackened.

 

 

[alison]

I suspect some input - either financial or just generally supportive - from the various councils is also required.  Could be that they don't want to be seen to be doing anything which is perceived - whether it actually is or not - as wasting council tax income?  But if you look at the rest of the big screen venues - and there are some distinctly off-beat ones this year, I note - there is a very definite lack of coverage in the north of the country   It's a huge shame, because while there probably are a fair number of cinema broadcasts available there it's not the same as making performances freely available in public spaces where any passer-by can just look in and, it is hoped, be captivated by what they see.

[yumiko]

23 hours ago, John Mallinson said:

The first relays that I saw were on a screen which was jammed into a corner of the Covent Garden marketplace just outside the Opera House back door so it was easy for performers to come out and take a bow. I also remember one occasion when they appeared in Trafalgar Square but can't remember what or when it was.

 

Before cinema screening was introduced, live relay at Trafalgar Square started 15 minutes late.

Main role dancers were ushered to the minibus and escorted to Trafalgar Square and bowed to the audience.

I can't remember the year, but Onegin by Alina Cojocaru and Johan Kobborg at one occasion.

Romeo and Juliet by Sarah Lamb and Slava Samdurov, I think in 2008.

 

Onegin public screening inspired Reid Anderson.

Stuttgart Ballet's annual public screening at the park started because of this.

 

[alison]

Yes, I was chatting to the guy who'd come over from Stuttgart specially to investigate

[Sunrise]

2 hours ago, yumiko said:

Before cinema screening was introduced, live relay at Trafalgar Square started 15 minutes late.

Main role dancers were ushered to the minibus and escorted to Trafalgar Square and bowed to the audience.

I can't remember the year, but Onegin by Alina Cojocaru and Johan Kobborg at one occasion.

Romeo and Juliet by Sarah Lamb and Slava Samdurov, I think in 2008.

 

Onegin public screening inspired Reid Anderson.

Stuttgart Ballet's annual public screening at the park started because of this.

 

 

At that Onegin I remember Bonelli being pursued across the square to the minibus by ardent fans! I thought they'd stopped the bows for the reason! 😁

 

[RuthE]

When they used to have a big screen right outside the back door of the ROH, there was one occasion (I can't even recall which opera it was...) when I watched the curtain calls in the house and then escaped down the stairs from my side Amphi seat in time to go and watch the ones in the Piazza.

[Xandra Newman]

Just spotted via social media: for those of us desperately missing ballet over the summer, there's always Japan as a destination  

 

http://royalelegancenight.com/english/programme.html

[bridiem]

13 minutes ago, Xandra Newman said:

Just spotted via social media: for those of us desperately missing ballet over the summer, there's always Japan as a destination  

 

http://royalelegancenight.com/english/programme.html

 

Sounds amazing!

[John Mallinson]

And while you're in Tokyo you might like to take in this even starrier programme.