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San Francisco Ballet, London September 2012


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We had a great time at SF Ballet last

 

Ghosts left me a little disengaged. I think having seen the hypnotic, mesmerising Mariinski 'Shades' and the Royal 'Wilis' means I need to adjust my expectations of spectral representations. Maybe I am just a little too literal at this stage in our continuing ballet education.

 

 

I found that a second viewing (at least) of all 3 of the Wheeldon pieces they presented, was a much more rewarding experience than just the once. I felt the same as you on one viewing, but seeing them again, it 'stuck' more. Sadly of course, you won't be able to do a second viewing now - but if ever you get the chance in the future, try that second viewing, I think you'll find the same as me (or you can slap me with a kipper!)

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Aileen said in post 18:

 

"Having seen SFB, I have been wondering what makes this company dance with such class and vigour. The RB is regarded as a world class company, which has the pick of the best dancers from all over the world, and yet when I go and see the company I often come away feeling slightly disappointed. Invariably, the performances are of a high standard and yet I often feel that something is lacking."

 

Class and vigour are the qualities that I have always found in SFB, having watched them in the US and here over the past dozen years or so. Their performing style is infectious - it exudes charm and confidence that floods out into the audience. Usually.

 

To try to answer your observation, IMO, the RB is more reticient, less overtly theatrical in their performing style - it has less character. It's instructive to see RB and BRB in the same rep. For example while RB dance Ashton's Les Patineurs more cleanly, BRB, despite some technical stickiness, bring greater flair and engagement with the audience.

 

But, at the Sunday matinee - I was disappointed by SFB, particularly in Diverimento no 15. The finale went with a swing thanks largely to the corps but the soloists looked careful, lacking that brio and physical alertness that makes SFB such an attractive company (normally). This was a tentative performance where the cut glass of the choreography did not sparkle. It's the same complaint that many had with the RB's Birthday Offering this June - also from 1956, like this Balanchine. These studies in classical language left the dancers looking exposed.

 

In both ballets they were clothed in roccoco confections of the costumier's art. Andre Levasseur's costumes for Ashton have achieved a retro allure but Karinska for Balanchine looked uncomfortable for these highly athletic dancers. Their elan was lacking.

Edited by Paul Arrowsmith
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