The Royal Ballet: La Bayadère, London, November 2018

[Xandra Newman]

Having seen last night's cinema relay as well as the Takada/Naghdi/McRae trio I entirely agree with you Richard. I prefer Takada's Nikiya to Nunez's - great as she is!!! - but Takada's Nikiya was far more the real thing (she was a "child of the jungle"). I am not an Osipova fan, finding her too "wild", sloppy and unclean in her classical technic, and her over the top Bolshoi-style dancing is simply not my thing. Naghdi's Gamzatti, compared to Osipova's Gamzatti, was elegant, classy and regal, no show-off, and the fact that Naghdi put her own interpretation into the role - showing a human/feminine vulnerability behind the bitchy and revengeful character of Gamzatti (not dancing a text book Gamzatti) -  made me appreciate and love the Takada/Naghdi duo more. Their performance was one of great finesse, it was not a "look-at-me" performance. Nunez and Osipova of course are two big internationally recognised names, they dance as the two queen bees of the RB but pure refinement, balanced characterisation, as well as elegance certainly came from the two younger Principal ballerinas Takada and Naghdi. The RB should be very proud of their Corps de ballet, who were just stunning and they easily match the famous Mariinsky Theatre Corps de ballet. Choe/Naghdi/Takada were 3 special and very fine Shades in the Osipova/Nunez/Muntagirov cast. 

[Fonty]

1 hour ago, Richard LH said:

The lighting of the stage was dark and very patchy so that dancers kept disappearing. This was true to a degree when we saw La B live  but when seen on the screen the problem was even more apparent. The temple destruction was virtually restricted to seeing the candles moving about. 

 

 

I agree, at a couple of points the dancers vanished in to the gloom. 

 

The temple destruction was very disappointing, a real anti climax. We were suddenly looking at a blank, light brown screen with some vague smudges moving about.  If I hadn't known that is what was supposed to be happening, I might have thought something had gone wrong with the transmission. 

Edited November 14, 2018 by Fonty

[zxDaveM]

12 minutes ago, Odyssey said:

 

Did anyone have any issues with the cinema projection? My viewing experience at Bromsgrove Artrix was spoilt by appearing to be missing off a tiny section of the bottom of the stage resulting in quite a few shots missing the dancers’ feet! Also some erratic problems with the clarity of the image, resulting in a fuzzy effect, particularly in wide angle shots. Not sure if this was a problem with the cinema or the relay.

 

 

A cinema projection problem. I had this a few years back, until we all complained at the interval. What happened in our case was the projectionist set up the screen from the stream coming in before the performance started, trying to fill the screen with the best ratio they could. The stream not the same size as a standard movie we discovered. Then when the show started we could see no feet at all, until the manager reset the ratio at the first interval. Those of us who complained, got a voucher for a refund

[Rob S]

8 hours ago, Sim said:

 

Candles have been dropping at almost every performance I have been to in this run...are they using a different polish or something?!  Last week three different dancers dropped them in the same performance.  😱

 

They must get really hot🔥🙂

[Richard LH]

I was really  pleased to see and hear  Romany Pajdak's interview. 

 

 

She has led the corps shades brilliantly  in  every performance and she sounded so proud to be able to do so in this run for the first time. She has been in the  company now for 14 years and from what I have seen (mainly from recordings) she has  been a real stalwart and credit to the RB for the whole period. I  suppose it is testament  to the  strength of the Company as a whole that she has remained at First Artist level for the last 10 years - or there may be other reasons for that - anyway  she seems more than happy to be where she is, and frankly it is the attitude, dedication and skill of dancers like her that sustain  the RB as one of the world's best companies.

Edited November 14, 2018 by Richard LH

[Colman]

1 hour ago, Richard LH said:

I thought she played Nikiya rather too regally

 

I have this problem with her performance on the Fille recording with Acosta.  “Why is there a royal princess living as a peasant?”

 

To be fair, without the closeups from recording/broadcast this might not be an issue.

[Xandra Newman]

10 minutes ago, Richard LH said:

I was really  pleased to see and hear  Romany Pajdak's interview.  She has led the corps shades brilliantly  in  every performance and she sounded so proud to be able to do so in this run for the first time. She has been in the  company now for 14 years and from what I have seen (mainly from recordings) she has  been a real stalwart and credit to the RB for the whole period. I  suppose it is testament  to the  strength of the Company as a whole that she has remained at First Artist level for the last 10 years - or there may be other reasons for that - anyway  she seems more than happy to be where she is, and frankly it is the attitude, dedication and skill of dancers like her that sustain  the RB as one of the world's best companies.

 

There are several very loyal, reliable and hard-working dancers in the Corps de ballet, and they are all great examples to the younger corps dancers! Tara-Brigitte Bhavani (16 years in the corps), Nathalie Harrison (15), Romany Pajdak (14), Demelza Parish (13), Gemma Pitchley-Gale (13) and Lara Turk (11) - they are the "Principals" amongst the Corps de ballet dancers.

[graemew]

I saw the McRae cast live and then last night's Cinema Live. Overall I enjoyed Vadim's cast better although the closer views offered by the Cinema (compared to mid Ampitheatre) add to the enjoyment by showing expression more clearly. McRae outdanced Vadim in the big solo although I thought Vadim had more emotion towards his ladies.  Marianela and Natalia were wonderfully sparky together  although I admit to being passionate about the stunning Ms Nunez.

 

I noticed the scrim was brought down part way through the final act. The collapse of the temple projection didn't work at all well compared with how I remember my previous experience, where I recall seing the large statue disintegrate into falling rocks. This time it seemd to be a large dust cloud.  

 

In defence of Ms Bussell, I think you need to put it in context of the target audience. I would imagine the majority of cinema live patrons are relatively new to ballet and so need a different approach and information in comparison to contributors  to this forum. At least at the end she didn't stand up and scream "It's a 10!"

 

 

[graemew]

16 minutes ago, Richard LH said:

I was really  pleased to see and hear  Romany Pajdak's interview.  She has led the corps shades brilliantly  in  every performance and she sounded so proud to be able to do so in this run for the first time. She has been in the  company now for 14 years and from what I have seen (mainly from recordings) she has  been a real stalwart and credit to the RB for the whole period. I  suppose it is testament  to the  strength of the Company as a whole that she has remained at First Artist level for the last 10 years - or there may be other reasons for that - anyway  she seems more than happy to be where she is, and frankly it is the attitude, dedication and skill of dancers like her that sustain  the RB as one of the world's best companies.

 

Two years ago my wife and I had a few minutes conversation with Romany at the Ballet Association dinner. About 6 weeks later we were walking down Drury Lane and we heard someone say "Hello" and realised it was Romany. She stopped and chatted for several minutes. We were amazed that she took the time and trouble to do that and that left such a pleasant impression of the lady. I am sure that personable attitude helps her sustain her role in the corp.

[Mary]

17 minutes ago, Colman said:

 

I have this problem with her performance on the Fille recording with Acosta.  “Why is there a royal princess living as a peasant?”

 

To be fair, without the closeups from recording/broadcast this might not be an issue.

Pedantry corner: I don't think Lise is a peasant- the Widow Simone is a farmer, an employer, making matrimonial schemes with a richer farmer..

 

I personally find Nunez's regal playing of Nikiya entirely appropriate and effective:  she seems to portray a nobility of soul that is not about her relatively modest social position.

I find it very moving and it goes so well with Muntagirov's equally noble Solor.

The role can certainly be played differently I agree.

 

[Richard LH]

4 minutes ago, graemew said:

I am sure that personable attitude helps her sustain her role in the corp

 

Albeit the following was made as a Birkenstock commercial, it is mainly a moving  and inspirational  account of Romany's ballet journey...

 

 

[Anna C]

I’m so glad I saw Bayadère at the ROH on Saturday; not only because I prefer Gamzatti to be genuinely heartbroken and showing some remorse (which Naghdi portrayed beautifully) but also because the lighting last night was atrocious.  Dancers disappeared, the beautiful scenic backdrops were dim and the destruction of the temple was barely visible.  

 

As access members can only see one performance per run at the ROH the cinema provides a great opportunity to compare casts and I agree that Nuñez was a little too regal as Nikiya.  I can forgive that though as her lines are so pure and her pdds with Muntagirov are always stunning.  Gary Avis was terrific as the High Bramin and Osipova was an absolute firework.  What Muntagirov lacks in the acting department he makes up for in elegance, romanticism and ridiculously beautiful dancing. 

 

The highlight for me was the Corps and the three Shades.  Medals all round for Romany Pajdak, Yuhui Choe, Akane Takada and especially Yasmine Naghdi.  That Act 2 was very special indeed.  I’m so glad the Shades received resounding cheers and my goodness, Samantha Raine has produced a world beating Corps de Ballet. 

 

In defence of poor Darcey though - must we vilify her after *every* broadcast? She’s a huge name; beautiful to look at, someone the young dancers in the audience look up to and the newbies/older audience members recognise from Strictly.  Yes, she clearly still gets nervous and obviously worries about her Dyslexia when it comes to reading the AutoCue but she is so personable and why should she not reminisce about her own performances in the ballets that are live streamed?  She brings a different viewpoint to the proceedings.  She’s clearly more comfortable in Ore Oduba’s presence than in Petroc Trelawney but they brought a good mix of knowledge together.  

 

Anyway.  I join in the hopes for a dvd of this cast.

 

 

[jmhopton]

3 hours ago, Jan McNulty said:

Please don’t go there with my attempts to see this at the cinema last night!!  At least there is an encore performance listed for Southport on Sunday.  I hope my attempt to get to that is successful!

Might see you there Janet as I too hope to see it at Southport on Sunday despite seeing it yesterday too at Preston.

[Fonty]

Actually, I really enjoyed the commentary last night.  I thought the pairing of Petroc Trelawyny with Bussell worked well.  I don't think Darcey is ever going to be that relaxed in front of an auto cue,  but I am getting used to that by now, and on this occasion her relating her own experiences didn't jar as much as it has in the past.  It seemed relevant to the topics of conversation.  One thing struck me.  I know she wears glasses in real life.  Does she also wear contact lenses?  Because at times she did seem to be squinting a bit, so I wondered if part of the problem was that she couldn't actually see clearly.  

 

I think they might need to rethink the "interview in the Floral Hall" bit, thought.  When they were talking to Kevin O'Hare I was distracted by all the people walking past in the background, turning and staring into the camera.  I hope the chap who took a picture on his phone got a good photo.  I would rather they stayed backstage.  

 

It was lovely to see Makarova coaching.  I was struck by how small she was, especially when standing next to Nunez.  

 

 

[Anna C]

Oh gosh, I’d forgotten Phone Man in the Floral Hall.  I was vastly entertained by the snacking bartender in the background! 

[Rob S]

4 minutes ago, Fonty said:

Actually, I really enjoyed the commentary last night.  I 

 

I think they might need to rethink the "interview in the Floral Hall" bit, thought.  When they were talking to Kevin O'Hare I was distracted by all the people walking past in the background, turning and staring into the camera.  I hope the chap who took a picture on his phone got a good photo.  I would rather they stayed backstage.  

 

 

 

 

I’m not trying to say he was distracting but all I thought of at that point was ‘LANDSCAPE NOT PORTRAIT!’

 

I really enjoyed the interviews and insights but would prefer them to remain backstage, I’d rather see Osipova or Vadim walk past than someone finishing their drink and chatting on their phone staring into the camera 

[Fonty]

1 minute ago, Rob S said:

 

I’m not trying to say he was distracting but all I thought of at that point was ‘LANDSCAPE NOT PORTRAIT!’

 

I really enjoyed the interviews and insights but would prefer them to remain backstage, I’d rather see Osipova or Vadim walk past than someone finishing their drink and chatting on their phone staring into the camera 

 

😄

 

Yes, it is fascinating to watch the dancers doing their last minute stretches, adjusting their costumes or whatever.  Adds to the sense of occasion.  

[Mary]

30 minutes ago, Anna C said:

 I’m so glad the Shades received resounding cheers and my goodness, Samantha Raine has produced a world beating Corps de Ballet. 

 

I should like to make one of those beautiful sweeping curtain-call bows and present a virtual bouquet to Ms Raine. Many congratulations to her.

 

I noticed in the curtain calls that Gary Avis stepped well back, and they were all v careful to make space for Boris Gruzin to step round the flowers- will the poor man ever forget that tumble? I hope he can have a laugh about it.

[jmhopton]

I enjoyed last nights performance though I do agree with those who commented on the poor lighting. They were filming the live performance I was at last Thursday when I saw the same cast. You would have thought if they had played that through they would have seen the problems of poor lighting and made some sort of adjustment for the recording. I accept that is not easy to do during a run where the lighting is presumably set the same for every performance but it should have been obvious that some occasional adjustments were needed for the recording. Has anybody mentioned the snake or lack of? Because Marianella seemed to slightly have her back to the screen when she discovered it I didn't think it was visible at all either then or when she threw it to the floor (should the cameraman have been tracking it?) Also, possibly because of the lighting, I didn't even see it when the fakir picked it up and banged it on the ground. it looked as if he was miming something! So if you didn't know the plot and hadn't read the scenario you wouldn't know what was going on. We need a bigger snake!!  Also agree about the temple at the end. You couldn't see any disintegration, just clouds of smoke. Didn't the Buddha statue used to break in half? That was very dramatic and gave a good indication as to what was happening.

 

Anyway loved the performance. I thought the three leads were great in their interpretations as to how they saw their characters. it doesn't necessarily mean they are the only or the most valid interpretations. I too saw Takada and Naghdi last week  and really enjoyed their performances and interpretations too. The  Shades and all the corps variations were amazing and all credit to Samantha Raine for creating such strength and depth in these roles. Of course the 3 shades were exceptional in their interpretation. I could have watched them all night!

 

Need a dvd to permanently capture this Bayadere and perhaps they could adjust the lighting on a dvd even though they didn't do it for the performance.

 

Looking forward to seeing Coralles this Friday and hopefully the encore cinema performance this Sunday then nothing more until Dec 20th alas, though can't wait for this triple bill which sounds as if it's going to be really special.

[Fiz]

40 minutes ago, Fonty said:

Actually, I really enjoyed the commentary last night.  I thought the pairing of Petroc Trelawyny with Bussell worked well.  I don't think Darcey is ever going to be that relaxed in front of an auto cue,  but I am getting used to that by now, and on this occasion her relating her own experiences didn't jar as much as it has in the past.  It seemed relevant to the topics of conversation.  One thing struck me.  I know she wears glasses in real life.  Does she also wear contact lenses?  Because at times she did seem   

 

I think they might need to rethink the "interview in the Floral Hall" bit, thought.  When they were talking to Kevin O'Hare I was distracted by all the people walking past in the background, turning and staring into the camera.  I hope the chap who took a picture on his phone got a good photo.  I would rather they stayed backstage.  

 

 

 

 

I was rather shocked by his bad manners, actually.

Edited November 14, 2018 by Fiz
Shortened the quote

[Nogoat]

To echo the sentiments of others, I think the Royal Ballet and by extension we, the audience, are currently blessed with an embarrassment of riches in terms of repertoire and dancers. That we can show these off to the world through live relays (which are sometimes released on DVD for us to savour!) is an added bonus. Frankly, it's nights like last night that make the expense* and 6 hour car/tube round trip seem almost inconsequential.

 

Nunez has been steadily cutting and honing the facets of a beautiful gemstone in her last two performances, and last night she polished it to perfection. If there was one thing that distracted from the magic of her Act 2 last Thursday it was the noise of her feet; last night she conjured up some form of magic to create silence.
I didn't find Nunez too regal in her dancing (or not enough of a "child of the jungle and temple"); royalty and religion both end up elevated above the hoi polloi - while ostensibly serving their best interests - so to me that persona was apt.
I did find, however, that she seemed to be playing a bit too much to the wider, cinema audience in the very 'gracious' way she took some of her bows and curtain calls.

 

Vadim didn't really have anywhere else to go - by last Thursday he had improved his expression to match his excellent technique, and my worry was that he might have 'peaked too soon'. Well, no worries, he was still up there on the summit of Everest. I really felt his anguish in the final act - being torn apart by an immaterial love that refused to die, and a material love that refused to cede his heart.

 

And as for Osipova's Gamzatti; on opening night her actions were driven by pure passion; last Thursday by cold pragmatism; last night she mixed the two to form a dangerous amalgam - and someone propelled by the raw power of their emotions, but directing and exerting that power rationally, is a very dangerous person indeed. 
I found her Act 3 solo very affecting, and I'm convinced she expressed her pent-up emotions/frustrations by throwing in extra rotations into some of her spins! They just seemd quicker than last week (though the music was of the similar tempo). Or was it just me getting caught up in the moment?
I also choked up during the Act 2 'betrothal' PDD; Osipova and Muntagirov were simply gorgeous - there is something about getting two dancers (especially one male and one female - of different intrinsic physical strengths) plus the music to present in a synchrony so perfect that it resonates and makes the heart sing. It's a triumph of manifest order over potential chaos - like watching a beautiful sunset develop from the randomness that is the weather. And to make it so effortless belies the incredible skill and sheer hard work that underpins it.

 

For the first time with this cast I found myself clapping the Bronze Idol. In the first performance I thought Campbell was just sloppy; in the second he'd improved the top half of his body, but at the expense of the lower; but last night he seemed to be right on the button - sharp, precise, synchronised. This begs the question - does he need the added pressure of a live performance to give it his all?

 

Yuhui was on sparkling, solid, note-perfect form last night. As was Naghdi - she really is something special. Anna Rose O'Sullivan also twinkled like the nascent star that she is.

 

Only God can be perfect, an old mentor used to tell me, so thankfully last night was only as close to heaven as we mortals are allowed to get.

The corps in Act 2 were excellent, but I got the impression they were not quite as good as last Thursday; maybe I'll get that impression overturned when I try to catch an 'encore' screening on Sunday.
I heard a lamp drop in Act 3, and saw it sat on the stage, but I'm blowed if I can recall seeing it get picked up! Those dancers are so adept (more on-stage magic, but this time of the sleight-of-hand/distraction variety?). But I guess they are trained for just that (almost inevitable) eventuality. In the interval I'd actually said to the person next to me to watch out for one or more dropped lamps; in fact, maybe it should be made an integral part of the ballet as it adds a little bit of uncertainty, of excitement, to the proceedings (perhaps there could be a 'chosen one', as in the Rite of Spring!).
Poor Marianela came back out on stage to take applause in Act 2 and wasn't picked out by a spotlight - OK, she's a shade, but that was taking it too literally! Seriously though, dancers (especially dancers as good as her!) coming back on for applause is a given and should not take anyone by surprise.

 

* I've previously said I'd be happy to pay twice the price for tickets to performances of this calibre, which is theoretically true, though I feel I should clarify (since I know on which side my bread is buttered) that it's my partner who funds our mutual addiction... 

[jmhopton]

Did Vadim do a different first solo in the betrothal act last night? I know it's not very likely but when I saw him at the theatre last Thursday I really got the wow factor from his solo then which I didn't get last night. I thought he did a succession of those spectacular turns in the air that yesterday he did in the Shades act but perhaps I remember wrong.

[graemew]

Did Marianela remove the snake at all?  I spent anxious seconds wondering whether during the build up steps when Ms N was waving the bouquet about enthusiatically the snake would fly out prematuely but finally I didn't see the snake at all. When the fakir rushed over to whop it on the floor there didn't seem to be anything there.  Knowing how kind the lady is to children and animals i am sure she would have let it reside in its flowery repose. Must have been confusing to newcomers who may have put her demise down to hayfever.

 

[Fiz]

No, I didn’t see the snake either but  my imagination filled it in. You made me laugh out loud, graemew! 😂

[jmhopton]

Just had an email from the ROH to say Coralles is injured and won't be dancing this Friday and he was the main reason I was travelling from Lancashire as I haven't seen him yet. Vadim is dancing in his place. I didn't think I'd ever be disappointed in having Vadim as a cast change but I have seen him twice already (3 times if I go to Southport this Sunday) and was looking forward to seeing Coralles. Hope he isn't badly injured and will be back soon. Must be as disappointing for him as for us.

[Bluebird]

I've just posted this in the Autumn casting thread but am repeating it here to make sure readers see it:

 

Cast change for The Royal Ballet's La Bayadère

16 November 2018 at 7.30pm

Our records show that you are due to attend the performance of La Bayadère on 16 November. We are contacting you to let you know that due to injury, Cesar Corrales will be replaced by Vadim Muntagirov as Solor.

 

If you have any questions please contact our Box Office team on +44 (0)20 7304 4000 (Monday–Saturday: 10am–8pm) who will be happy to assist you.

Edited November 14, 2018 by Bluebird

[SylviaLiu]

Also just received the notification from ROH about the cast change - definitely would be lovely to Corrales soar, but hearing about all the wonderful things on Muntagirov's opening night (plus the fact that I did not attend that or the cinema streaming), I guess I'm at no position to be disappointed   Look forward to Friday!!

[Balletfanp]

3 hours ago, graemew said:

I saw the McRae cast live and then last night's Cinema Live. Overall I enjoyed Vadim's cast better although the closer views offered by the Cinema (compared to mid Ampitheatre) add to the enjoyment by showing expression more clearly. McRae outdanced Vadim in the big solo although I thought Vadim had more emotion towards his ladies.  Marianela and Natalia were wonderfully sparky together  although I admit to being passionate about the stunning Ms Nunez.

 

 

 

I’m uneasy about the use of the word “outdanced” as it is almost suggestive of a competition - and in any case this is subject to different opinions.

 

I haven’t seen McRae in this although I have in other things, and from my own observations and some comments on here, he often chooses to up the stakes and add his own pyrotechnics to his solos, which can be very impressive. However, for me this sometimes seems to be at the sacrifice of artistry or the requirements of the role, and tends to become (again, for me), McRae dancing McRae rather than being Solor or whatever role it might happen to be. Sometimes less is more.

 

Speaking for myself, I far prefer to see a solo beautifully danced, with gorgeous lines and unflashy virtuosity, and artistry at the service of the role rather than the other way round. That, combined with Muntagirov’s beautifully expressive face (for me, he acts convincingly and sincerely) and inimitable elegance, constitutes classical ballet heaven - my own opinion, I realise not all will share it!

 

I will add that I far prefer McRae in more “acting” type roles - like Rudolf, or the Creature in Frankenstein, where he can focus on the acting rather than how much he can impress with his dancing.

[Timmie]

It's great to be able to see both. I really enjoyed McRae's pyrotechnics last Saturday and very much looking forward to seeing Muntagirov's elegance this Friday. I was very happy to be seeing Corrales as Solor but Osipova/Muntagirov/Nuñez has always been my absolute dream cast for Bayadere.

[Sharon]

3 hours ago, Richard LH said:

 

Albeit the following was made as a Birkenstock commercial, it is mainly a moving  and inspirational  account of Romany's ballet journey...

 

 

I've never seen this before. Thank you Richard for posting it. It's wonderful. I have long been a fan of Romany - I notice her every time she's on stage - as I do Isabella Gasparini. This production of La Bayadere has brought (belated) attention to her beautiful dancing, first on WBD and then the video last night, which is great. Hopefully her hard work will be rewarded and this year finally she will be promoted to soloist.

[Richard LH]

2 hours ago, Fonty said:

Yes, it is fascinating to watch the dancers doing their last minute stretches, adjusting their costumes or whatever.  Adds to the sense of occasion. 

 

Also behind the curtain at the end - it was nice to see Osipova, off stage, applauding Nunez as the latter took a curtain call.

[Nogoat]

13 minutes ago, Richard LH said:

 

Also behind the curtain at the end - it was nice to see Osipova, off stage, applauding Nunez as the latter took a curtain call.

 

And she did the same on-stage for Vadim & Marianela when they first appeared at the curtain calls on opening night.

[Xandra Newman]

It's not so unusual I must say that Principals applaud each other at curtain call. I have seen other Principals applauding each other at the end of their performance. It's nice indeed.