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The Royal Ballet: La Bayadère, London, November 2018


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Yes- people are bound to have different ideas about charisma.  Fair enough. Also about the personalities and style of different dancers, and my own preferences are often minority ones.  Similarly, The Times felt that Bintley's 'The King Dances' was very bad and a downer- I disagree, but it's an opinion....

 

I think there is a bit of a difference between these cases, and an overall rating.

 

Because if someone who enjoys classical ballet gets off a plane and wants to know- is there any really good ballet on in London? and sees the 3 stars review for Bayadere and thinks 'Hmm, maybe not'- they will have been misled. Luckily there are other reviews!

 

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Even the dictionaries cannot adequately define "charisma"!  In this context, I think that it matters whether a dancer (by dint of their quality of dance, characterisation , personality, overall artistry and stage 'energy') is able to 'carry' a ballet.

 

Some can for me, some can't and it isn't always about being 'dynamic'. Ball, Corrales and Muntagirov (alphabetical order!) are three extraordinary talents at the top of The Royal Ballet. They are completely different but all three have, in my view, a 'special something' which draws me to them and enables me to 'live' their story with them through dance - as, for example, did Bonelli in Mayerling.

 

In the hands of a strong male lead, La Bayadere is about Solor's journey. Alas, that wasn't the case at this afternoon's seriously underpowered showing.

 

 

 

Edited by capybara
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10 minutes ago, Mary said:

Yes- people are bound to have different ideas about charisma.  Fair enough. Also about the personalities and style of different dancers, and my own preferences are often minority ones.  Similarly, The Times felt that Bintley's 'The King Dances' was very bad and a downer- I disagree, but it's an opinion....

 

I think there is a bit of a difference between these cases, and an overall rating.

 

Because if someone who enjoys classical ballet gets off a plane and wants to know- is there any really good ballet on in London? and sees the 3 stars review for Bayadere and thinks 'Hmm, maybe not'- they will have been misled. Luckily there are other reviews!

 

Except they'll be out of luck because there aren't any tickets!

Edited by penelopesimpson
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Well David Wall of that generation was another terrific performer and he had something too!! His acting skills were superb. 

 

It is a fascinating area but I suppose looking back if I had to pick just ONE dancer from a generation ....an incredibly difficult thing to do in fact...because it's true in any generation there will be a number of more or less equally talented dancers but each bringing something different to the table .....however if I did ...from that generation ...I would pick Nureyev....just something given off other than the dancing itself which somehow gave it all more meaning......got right through to your soul.....But Dowell and Wall are definitely not far behind!!

Gosh how lucky I have been to have seen these dancers and now a new generation of wonderful dancers to cherish. 

 

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14 minutes ago, capybara said:

In the hands of a strong male lead, La Bayadere is about Solor's journey. Alas, that wasn't the case at this afternoon's seriously underpowered showing.

That's a shame.

 

As well as charisma, whatever that may be, there is 'dancing well' which is a bit less subjective- isn't it? I think so. Or not?

 

In that sense opening night was just so consistent throughout the company- no weak links.

 

 

 

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3 hours ago, bridiem said:

Interesting though - can charisma really be subjective? Whether one responds to it or not is subjective, but I would have thought that its existence should be unarguable.

 

Perhaps some people resist responding for some reason and instead deny its existence.

 

 

Surely charisma is subjective otherwise one would be able to define it in a way that everyone could agree on in any particular case.

 

It is difficult sometimes to understand why other people don't respond as warmly to a dancer as one does oneself.

 

Some years ago there was a particular RB dancer who was my absolute favourite - I wouldn't miss a performance of his. I assumed everyone else felt the same and some people certainly did but a number of people whose opinions I respected, absolutely did not. I was perplexed and disappointed at the time but the funny thing is now I can't stand him myself :)

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2 minutes ago, annamk said:

 

Surely charisma is subjective otherwise one would be able to define it in a way that everyone could agree on in any particular case.

 

Well I agree that in practice it seems that it's not always undisputed; but I think that charisma is something that comes from the dancer and should be evident to the audience regardless of whether or not they particularly like the dancer.

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It was my first time seeing the Royal Ballet. I had been wanting to see Marianela so badly for a while. They were all amazing, the 3 leads and everyone else (a special mention for Akane and Claire). I keep dreaming about this performance since I've seen it. I feel like I've witnessed a piece of art that will remain historic (and I can't wait for the DVD). 

 

Vadim was a compelling Solor. I don't think he lacks charisma. I just find him really subtle. He made me feel for Solor when I usually don't care that much for this character. You could feel his love for Nikiya through the all performance. 

 

Natalia was a passionate Gamzatti. She was giving everything she could and keeping her head high. I personally find that her personality fits this role perfectly. She was playing it strong and but you feel this tragedy was destroying her. 

 

And Marianela... she was just magical. She has the perfect sensitivity for playing Nikiya. She was so vulnerable, especially during the act I and III. In the temple she was magical, flying around everyone else. Her technique during Nikiya's death was remarkable (but well, she's Nela). She used her perfect technique to skillfully convey emotions. Her death moved me. Until now Ulyana Lopatkina was my favorite Nikiya. Now, I'm not so sure. 

 

Also, the tension between Nikiya and Gamzatti could not have been better. Each dancer pushed the other one to be even better and their scene together in act I was powerful. 

 

On 02/11/2018 at 17:06, Nogoat said:

All very positive so far, but there were a few things that caused me to take note...
Given how brilliant Marianela is at classical, 'tutu' work, I did end up wondering if her Act 2 performance was a tiny (emphasis on the tiny, folks!!) bit below par - though that might reflect unrealistic expectations on my part, having just seen a fabulous Act 1 (and writing this now, having seen a brilliant Act 3).

I can understand this comment. But I also believe that act I was overwhelmingly fabulous. She might just have been too good in the rest of the performance. 

 

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1 hour ago, bridiem said:

 

Well I agree that in practice it seems that it's not always undisputed; but I think that charisma is something that comes from the dancer and should be evident to the audience regardless of whether or not they particularly like the dancer.

 

But the fact that it isn't evident to everyone shows that charisma, like beauty, is something which is essentially in the eye (or other sense) of the beholder. The eyes of most beholders may agree at any one time, but that fact doesn't make it objective. Any more than the fact that this year Classic FM voters made Tchaikovsky's 1812 Overture (which the composer himself despised) the most popular piece of classical music, means that it is objectively more beautiful or charismatic than, say, Swan Lake, or Beethoven's 9th symphony etc.etc.

Edited by FrankH
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23 minutes ago, FrankH said:

 

But the fact that it isn't evident to everyone shows that charisma, like beauty, is something which is essentially in the eye (or other sense) of the beholder. The eyes of most beholders may agree at any one time, but that fact doesn't make it objective. Any more than the fact that this year Classic FM voters made Tchaikovsky's 1812 Overture (which the composer himself despised) the most popular piece of classical music, means that it is objectively more beautiful or charismatic than, say, Swan Lake, or Beethoven's 9th symphony etc.etc.

 

I suppose what I'm saying is that if a performer is widely deemed to be charismatic (which doesn't necessarily mean brilliant or best) then they must be so, since charisma is wholly about the impact of  a performer and the link between them and the audience. It's not about quality but as someone else said is something akin to stage presence. The fact that some individuals don't recognise or feel the charisma may say more about them than about the performer and doesn't mean that the charisma doesn't exist.

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12 hours ago, Darlex said:

If that is a review written by Lindsay Winship it won't be worth taking seriously. 

 

Lyndsey Winship's review, unlike Mark Monahan's five-star award in the Telegraph, at least didn't say you were enjoying "Gamzatti’s intoxication at her power over Solor and Gamzatti"! 

 

Edited by Sophoife
Clarified that Telegraph review was 5 stars
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To be honest threads do go slightly off topic for a while over something that originally sort of  arose naturally.

I personally don't think we need a separate thread on "charisma" especially as nobody has actually chosen to start one specifically on this topic but it would probably be good now to get back to Bayadere and its performance by the RB!! 

 

 

 

 

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I went to this evening's performance and the highlight for me was Yasmine as Gamzatti. I felt she really pulled it off in terms of the characterisation and her dancing was superb.  I couldn't see any chemistry between Steven McRae and Akane, and I felt a bit flat after the electric performance I witnessed on Thursday.  Steven McRae certainly gave us some spectacular leaps (as one would expect from him) but his Act 2 solo did not compare with Vadim's in my opinion.  I also need to say, that if you hadn't seen Vadim, you would have thought it marvellous.

 

So, on Thursday, there was a thrill and an excitement in the audience almost right from the start. We were watching something incredibly special.  I didn't feel that today though the audience were very appreciative.  Akane gave it her best and she is a lovely dancer but I couldn't find any emotional depth there. 

 

I know this is a very subjective review so am perfectly happy if others think differently. The Corps were excellent again in the Kingdom of the Shades and overall very enjoyable indeed: it just didn't reach the heights for me.

 

PS. Irek surely wins on charisma. 

 

Edited by JennyTaylor
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7 hours ago, JennyTaylor said:

I went to this evening's performance and the highlight for me was Yasmine as Gamzatti. I felt she really pulled it off in terms of the characterisation and her dancing was superb.  I couldn't see any chemistry between Steven McRae and Akane, and I felt a bit flat after the electric performance I witnessed on Thursday.  Steven McRae certainly gave us some spectacular leaps (as one would expect from him) but his Act 2 solo did not compare with Vadim's in my opinion.  I also need to say, that if you hadn't seen Vadim, you would have thought it marvellous.

 

 

I completely share your view on last night's performance Jenny.

Kudos to Steven McRae for making his come back after an injury induced absence of nearly a year. His leaps were as spectacular as always but there was a lack of chemistry between him and Akane Takada. Their passion for each other did not show or project to the audience, they danced the steps together but there was not much between them which showed their great love and desperation for each other. Akane Takada has a superb technic and she didn't set a foot wrong. Technically her dancing was beautiful but she lacked characterisation, I just didn't "feel" her Nikiya. The contrast with Yasmine Naghdi's characterisation of her Gamzatti made this all the more visible. The looks she gave Solor was just one of a kind!  This was Naghdi's first time back on stage this Season and her debut as Gamzatti was incredibly assured and wonderfully portrayed. She made a truly regal entry in Act 1, her solo was superbly danced and the Italian fouettees masterly executed. Her temple dance in Act 3 was nothing short of stunning and made me very emotional. The flowers bestowed on her made the audience gasp. Magri and Harrod were lovely as Shades (the three Shades were danced by Magri, Harrod and Hinkis). A big bravo to the Corps de ballet, they were breathtaking, not a wobble in sight. Just beautiful! They received a deserved prolonged applause.

All in all an enjoyable evening and for me too the highlight was Miss Naghdi and the Corps de ballet.

Edited by Xandra Newman
typo
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16 minutes ago, Xandra Newman said:

 This was Naghdi's first time back on stage this Season and her debut as Gamzatti was incredibly assured and wonderfully portrayed.

 

...............which makes it all the more amazing - as in the case of Muntagirov. Although both performed in Madrid in  July and in Morera's Gala in Japan in late August, neither of them had been on the ROH stage since early June nor, I believe, on any stage over the last couple of months. Then they come back into La Bayadere and deliver as they did - simply remarkable.

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39 minutes ago, capybara said:

 

...............which makes it all the more amazing - as in the case of Muntagirov. Although both performed in Madrid in  July and in Morera's Gala in Japan in late August, neither of them had been on the ROH stage since early June nor, I believe, on any stage over the last couple of months. Then they come back into La Bayadere and deliver as they did - simply remarkable.

 

I thought Yasmine Naghdi was one of the lead shades on opening night.

And Xandra seems to have forgotten Steven McRae danced Rudolf in Mayerling

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29 minutes ago, zxDaveM said:

 

I thought Yasmine Naghdi was one of the lead shades on opening night.

And Xandra seems to have forgotten Steven McRae danced Rudolf in Mayerling

 

I meant in a major role Dave :)

Yes I know he danced Rudolf in Mayerling, I admire his come back after such a long injury, and last night was the first time I saw him back on stage. 

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9 hours ago, penelopesimpson said:

Who danced the matinee?

 

As the performance in the past there's no way now of checking this from ROH website or literature. 

 

Thank goodness the knowledgeable people on this forum can help!  (The Dancing Times calendar is also an excellent source to check casting, subject to change, and they are able to get it in the right order!) 

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1 hour ago, Mary said:

 But what about the Hirano/Lamb/ Calvert one?

(hope that's right)

 

 

I was so entranced by the Thursday's opener that I squeezed in an extra yesterday afternoon in order to see all the casts - at a matinee price!!!!

 

In my view Lamb was everything a Nikiya should be - beautiful, lyrical, yielding, technically accomplished, clear in her emotions. Calvert was strong in interpretation and presence but didn't succeed in using the choreography as a vehicle for further expression of her character - the fouettes in Act 1 and the beseeching movements in Act 3 weren't yet sufficiently potent.

 

But the reason I have held back from commenting is the relative weakness of Hirano who had no elevation, omitted steps, foreshortened the difficult sequences and seemed to give little back to his two partners. It was a seriously underpowered performance which gave me a sense that he might not be fully fit or sufficiently prepared for the role. 

 

I know that this sounds hard but, compared with the opening night especially, yesterday's matinee audience was short-changed - apart,  that is, from the simply wondrous corps.

 

[Valentino Zuchetti, returning from a long period of injury to a real test of stamina, was a sharp-gesturing Bronze Idol.]

 

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13 minutes ago, Darlex said:

 

As the performance in the past there's no way now of checking this from ROH website or literature. 

 

Thank goodness the knowledgeable people on this forum can help!  (The Dancing Times calendar is also an excellent source to check casting, subject to change, and they are able to get it in the right order!) 

 

You can still access the main casting information from the calendar by selecting a date. I have no idea how far back the information goes though but limited information is still there. I went back to October 2015 and selected the 8th October.

 

Of course that information may not be correct but there is still information available  😉

Edited by Shirley
add a sentence at end.
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11 minutes ago, Shirley said:

 

You can still access the main casting information from the calendar by selecting a date. I have no idea how far back the information goes though but limited information is still there. I went back to October 2015 and selected the 8th October.

 

Of course that information may not be correct but there is still information available  😉

Thank you for that, Shirley. I had no idea. Apologies to the ROH for maligning their website. 

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Thanks capybara. I would love to see Lamb's Nikiya but not sure I can manage to 'squeeze in' any more performances alas, no matter how hard I squeeze my bank account, so thank you.

 

I don't think you are being hard- if the forum is just praise it becomes a bit pointless. 

I have often enjoyed Calvert's performances in many ways, especially her lovely use of eyes, expression and her grace and charm,  but was slightly surprised by this casting as this role really is  very challenging technically. Perhaps Hirano is under par or was having an off day. If so I wish him back to full form soon.

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16 minutes ago, Darlex said:

As the performance in the past there's no way now of checking this from ROH website or literature. 

 

I think this raises a number of issues.  Using the ROH calander you can go to any performance and see cast details.  These may not be full cast but certainly main cast is covered and I'm not sure how quickly cast changes are updated.  If I sign in to my account and click on any performances I've attended in my 'event history' I quickly get main cast details.

 

I'm sure the ROH keeps full details for its own records - for example treated myself to an ROH history of the Ring the other day and there's a detailed appendix listing casts in all performances from 1892 to 1996.  I think the ROH has also been putting a fair bit of effort into updating its database of past performances.  The link below I think is well worth exploring:

http://www.roh.org.uk/about/roh-collections

 

So is the question how readily the ROH can make accessible the information that it holds?

 

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