The Royal Ballet: Mayerling, Autumn 2018

[Odyssey]

Apart from the ridiculous notion that using 'levels' is making it a less daunting/more user friendly term for the new audience being sought (in other words elitist from a marketing perspective), I hate this reductionism of the English language.

[penelopesimpson]

Just wanted to wish Ryochi and the cast the greatest possible luck for this evening.  I've given my ticket for tonight back but will be there on Saturday.

[penelopesimpson]

2 minutes ago, Odyssey said:

Apart from the ridiculous notion that using 'levels' is making it a less daunting/more user friendly term for the new audience being sought (in other words elitist from a marketing perspective), I hate this reductionism of the English language.

Funny thing is, the Barbican spent years trying to get rid of the term Levels!  Perhaps Balcony sounds Elitist...God help theatres with an Upper Circle!

[Shade]

 Best wishes to Hirano, Osipova and tonight's cast. Hope all the balletcoers have a great night too.

[JohnS]

Not sure whether the 'levels' discussion might be better elsewhere ('new' Royal Opera House?).  If the Balcony is now Level 3 does that mean the Donald Gordon Grand Tier is Level 2?  But is there really any suggestion that the Balcony and the Donald Gordon Grand Tier are to be renamed and simply referred to as Levels 3 and 2?  I'd be surprised if that were so and the literature/seating plan still shows Balcony etc?  I thought the Royal Opera House had included 'levels' on its signage for some time so perhaps there's an attempt to make clearer on tickets where seats can be accessed?

[alison]

I'd have thought it might well be helpful at amphitheatre level, but not below that, surely?

[JohnS]

21 minutes ago, alison said:

I'd have thought it might well be helpful at amphitheatre level, but not below that, surely?

 

To be honest I have seen people confuse orchestra stalls and stalls circle so better labelling might help in all parts of the house.

[bangorballetboy]

2 hours ago, JohnS said:

 

To be honest I have seen people confuse orchestra stalls and stalls circle so better labelling might help in all parts of the house.

 

Indeed.  I’ve lost count of the number of times I’ve arrived at my stalls seat to find it occupied by someone with the same seat number but for the stalls circle!

 

I think the new door numbers are very helpful.

[John Mallinson]

Now that the run has started, should we have a new thread for discussion of the performances?

[Mary]

Better had!

Anyone else notice how fantastic Corrales was- something very good to look forward to this year....

[bridiem]

Back from thrilling performance of Mayerling. Hirano’s Rudolf was exceptionally moving; I find him a naturally reserved dancer but with depth, dignity and intelligence to his acting, and his portrayal was all the more interesting for this. He started quietly, but we gradually saw the huge internal pressure that would in the end blow this person apart. He was more princely than most Rudolfs: a tall, handsome and authoritative figure, but marred by the pain and confusion that would bring about his downfall. His good looks turning into vanity, his authority twisting into cruelty, and his anguish taking his own breath away so that he constantly struggled to loosen his collar, to find air, to escape. With Stephanie, he exercised control in the only area in which this was possible for him, at the expense of his new young wife; with Larisch, he allowed himself to be manipulated; with his mother: the pain of absence; and finally, with Mary Vetsera, abandon. And this fine young man stared out at us, slumped in physical and psychological pain, a wreck of the self he could have been. Mary and he both found a kind of joy in their final union and its fatal consummation – grim and terrible for us to witness, but for them, a form of release. As so often with Mayerling, you could have heard a pin drop during the final act. A wonderful performance by Hirano, aided and abetted by Osipova’s superbly abandoned Mary and performances of huge commitment from the rest of the cast. Brilliant.

[SPD444]

More tomorrow but you are right Mary, Corrales looked the real deal.

[capybara]

This performance also saw the arrival on the ROH stage of Cesar Corrales as Lead Hungarian Officer. Astonishing.!

 

 

Edited October 9, 2018 by capybara

[Guest]

Not going to post at length now as I need to get to bed, but glad that bridem  got so much from the performance tonight. I have seen Mayerling many times. On this occasion I felt a total disconnect with Rudolf's story. Hirano partnered brilliantly, stepping in for Watson, but I felt the most impassioned and nuanced performances came from others. For me tonight's performance only flagged up Mayerling's weaknesses. It's a brilliant roller coaster when it works, but feels overlong and tiresome to me when it doesn't. 

[LinMM]

I haven't seen tonight's performance but for me Corrales always has been the real deal!! 

[Ian Macmillan]

A slightly odd Twitter exchange here between two critics.  Is Luke Jennings suggesting that Ms Osipova had remained very much in character at the curtain, or that she appeared to be unhappy about some performance aspect or other?  Suggestions from those who were there?

 

[gillm]

I didn’t pick up on anything at the curtain call, which to be honest means nothing!   For me, it was my favourite Mayerling (yes I have seen Watson).

 

It wasn’t perfect - there was the odd fumble, and if I recall correctly Osipova did collide with the chair in the final PDD. It looked gentle to me and I didn’t think “ouch”. 

I imagine the role of Mary can be a bit of a bruiser...

On reflection I think I have seen Osipova present partners with a stem from her bouquet in the past, but I didn’t see this happen last night. I hasten to add I could be wrong on both fronts.

 

I’ll leave the proper critique to others, but to state the obvious (one of my fortes) - what a prospect that must be to have to dance such demanding PDDs with different ladies with presumably less than ideal preparation- especially when you have an audience where many were hoping to see Watson.

 

A highlight for me was the first act PDD with Hayward.  I was in tears during the final PDD - a first. 

A lot of that may be because I have had an  emotional week - was well up for a Mayerling.

 

 

 

 

[Kate]

Have to confess that I only saw Act 1 but Hayward was heartbreaking in the final pas de deux of the act. It's a a difficult watch, and should be, it felt almost inappropriate to applaud after watching the terror unfold. I can't comment much on Hirano's Rudolf yet ( and yes I am one of those Watson fans that booked for every performance he was due to undertake for this Mayerling run) but Hiranos' Prince showed promise, and I'm hoping by Saturday that he might get into the character more.

I definitely want to see what Ball can do with this role.

[Mary]

There were a few fumbles- hardly surprising is it? At one point her hair seemed to get tangled up with Hirano's shirt buttons and I guess her wig might have been in danger of coming off ( sorry, suppressed chortle).

But they rescued things with that amazing skill all these dancers show and which always amazes me.

 

Hirano clearly was giving it his best- his partnering was very good especially considering how difficult it must be, as others have said,  to  give an extra perfomance, with a diffferent partner, a demanding partner, in the hardest role imaginable on the  first night of the season. Hats off to Hirano.  There might have been a shade of chilliness from Osipova- hard to say, but if so  I can't see why it was justified.  I  was pleased for Hirano that he got a good reception from the audience.

Overall I can't say the whole performance really quite came together for me but am still pondering why. It is not at all my favourite ballet so perhaps just needs tos be extra convincing to make me forget my reservations about the work.

 

[Bruce Wall]

No time for a review - but thought that Corrales' debut was as outstanding as we all knew it would be - no question a highlight alongside of Hayward's dramatic acumen - and hugely applaud the orchestra on playing so brilliantly.  Their Wagnerian outings (and fine conducting) seem to have considerable benefits.  Now back to work ... 

[bridiem]

2 minutes ago, Mary said:

There were a few fumbles- hardly surprising is it? At one point her hair seemed to get tangled up with Hirano's shirt buttons and I guess her wig might have been in danger of coming off ( sorry, suppressed chortle).

But they rescued things with that amazing skill all these dancers show and which always amazes me.

 

 

Yes, her wig did get tangled in his shirt; but there are often such mishaps in that pas de deux. (In 1978, Lynn Seymour's whole skirt got torn apart and she kept nearly being upended by it!!).

[Bluebird]

4 minutes ago, Bruce Wall said:

No time for a review - but thought that Corrales' debut was as outstanding as we all knew it would be - no question a highlight alongside of Hayward's dramatic acumen - and hugely applaud the orchestra on playing so brilliantly.  Their Wagnerian outings (and fine conducting) seem to have considerable benefits.  Now back to work ... 

 

Last night the Orchestra of The Royal Opera House were given a rest between two very lengthy Wagner operas (Sunday and today)The Royal Ballet Sinfonia played in their place and did so extremely well.

Edited October 9, 2018 by Bluebird

[Mummykool]

The husband managed a curtain call photo and Osipova looks happy enough to me. Shortly after this, she curtsied to Hirano and Sarah Lamb followed suit. If anyone had trouble smiling at the end, it was Hirano........ Probably overwhelmed by the whole experience. Incidentally I can't remember Osipova giving flowers to her partners...not even her beloved Hallberg.

 

I don't want to comment too much on the performance as I think the cast will grow together and I would rather wait until Saturday to pass comment.  I will say that the husband needed a cold shower at the end of Act 2 and that Osipova, Haywood and Lamb were outstanding! 

 

Have to disagree with Bruce about the orchestra though as we thought they had some pretty ropey moments and the tempo seemed quite slow at times. Still thoroughly enjoyed the evening though and very much looking forward to a double helping on Saturday.

[Mandy Kent]

Sarah Lamb is a superb Larisch. 

[bangorballetboy]

[Sim]

9 minutes ago, Mandy Kent said:

Sarah Lamb is a superb Larisch. 

I agree.  The best of the past ten years, and one of the best ever.  She breaks my heart each time.  No one else can convey, like she can, Rudolf's tragedy.  She is the only one who truly cares about him, loves him even, yet is treated like something the empress would scrape off her shoe.  Her despair at Rudolf's condition, and how he in turn is badly treated by his parents, is deep and yet so apparent to the audience.  If she is dancing Larisch, I don't care who is dancing the other two lead roles, I will always go to that performance.  

[capybara]

Osipova's  curtain calls with Shyklyarov after their first Manon seemed distinctly frosty. But, since both Manon and Mayerling end with absolute killer pdd, I guess that it is sometimes hard for dancers to do a "curtain act" as well. Perhaps, last night, she was just feeling knackered/relieved to have survived/in need of her supper/wanting to get home etc. I don't think that we should read too much into these things and the Critics should not make mischief.

 

BTW, I thought that Osipova and Lamb were everything one could ask for from Mary and Larisch. And I'm happy to be going away with those performances and that of Cesar Corrales swimming around in my head.

 

[Edited because I have to mention Hayward as well.]

 

 

Edited October 9, 2018 by capybara

[Sim]

I have never seen Osipova give anyone a flower either.  Sarah Lamb always does, and I noticed last night it looked as if she were going to pull a flower out but then didn't....maybe she didn't want to show up Osipova, who wasn't doing so.  

 

As for the performance, I'm afraid it never caught fire for me.  I think Hirano has loads of potential, but poor chap was making his debut in this most difficult of roles in the most difficult of circumstances.  He did very well, all things considered.  A couple of nervous wobbles at the beginning, but his dancing and partnering were very solid, as always.  What disappointed me was the lack of characterisation.  I felt nothing for Rudolf, neither pity nor anger.  Just blank.  Things got much better in Act 3, but if there is no narrative arc to take us from where he started to where he ended, it doesn't make much dramatic sense.  Now that he has a performance under his belt, he may relax more and be able to develop the character more.  Hopefully this development will continue throughout his career, as it does with the best Rudolfs.

 

I have talked in a post above about the superb Larisch of Sarah Lamb.  That, and Francesca Hayward's beautifully nuanced Princess Stephanie, were the only two aspects of last night that moved me in any way.....as did Alexander Campbell's Bratfisch.  His desperate attempt to engage with Mary and Rudolf in Act 3 was so miserable, and pitiful in the true sense of the word.  We knew that this was futile, but it was so sad to watch him try.  Campbell is one of my top three Bratfisches.  

 

I am not a fan of Osipova's Mary.....the youthful exuberance is overdone for my taste.  This Mary steamrollered Rudolf instead of seducing him, and I prefer the latter approach.  

 

Finally, what a joy to watch  Corrales.  I don't know what his acting is like or whether he is good at the 'danseur noble' roles, but he has certainly set out his stall for any of the virtuoso roles, and I am sure the other RB men will be upping their game to keep up with him (if that's possible!).  

 

 

Edited October 9, 2018 by Sim
To add my thoughts on Alexander Campbell, thanks to a gentle reminder from Mary!

[Mary]

2 minutes ago, Sim said:

have talked in a post above about the superb Larisch of Sarah Lamb.  That, and Francesca Hayward's beautifully nuanced Princess Stephanie, were the only two aspects of last night that moved me in any way.  

I would add Alexander Campbell's Bratfisch- the tragic second solo.

[gillm]

I’m obviously imagining things re the flowers then! Apologies for my failing memory.

 

Really sad I can’t attend any more in this run. Might have to get the DVDs out 😃. 

[Sim]

6 minutes ago, Mary said:

I would add Alexander Campbell's Bratfisch- the tragic second solo.

You are so right, Mary.  How could I forget that?  I will add that to  my post.  

[Sim]

9 minutes ago, capybara said:

 

Now I found that altogether too "look at me audience" in the circumstances of the story. Fine to 'entertain' at Mitzi Caspar's but not in the ballet's last throes.

I thought that was the whole point?  He knows that Rudolf is at desperation stage, and he is trying his damndest to distract him and Mary from doing anything silly, and perhaps even to cheer them up a bit.  He keeps trying, and each time he stops to see if it's working, and it isn't, he tries even harder to get them to look at him.  I don't think Campbell is a 'look at me' type at all, and I didn't get this feeling at all last night.  The feeling I got was of a loyal friend and servant trying to cheer up his miserable prince, and the only 'look at me' he was after was from Rudolf! 

[Sim]

Note:  Capybara's post that I quote above appeared twice on my computer, so I deleted one, and they both seem to have disappeared.  My apologies.