The Royal Ballet: The Nutcracker, December 2018 - January 2019

[Amelia]

6 hours ago, Fiz said:

No, I read Luke Jenning’s old article about her and watched the recording made of her and her dance partner six months before she died. Such a tragedy.

 

Fiz, I just wanted to make clear for myself that you were writing in your post about Valentina Simukova and not about someone else with a similar name.

[FrankH]

14 hours ago, bridiem said:

 

Thanks for your interesting review, FrankH.

 

About the Sugar Plum Fairy/Prince: although they don't literally take the narrative forward, I think the pas de deux expresses everything the ballet is about and distils it in 10 breathtaking minutes. Clara and Hans Peter see beauty, love, grandeur, mystery, brilliance, unity and joy personified, and they realise that their lives too can express these things. That is what they take back with them into the 'real' world. So for me it's more abstracted but even more powerful than a traditional narrative process.

 

That's an approach which certainly makes the Sugar Plum Fairy/Prince prominence more understandable. Next time I watch this ballet, I'll try to see it with your interpretation in mind. Whatever the case, I agree that the Grand Pas de Deux is breathtaking, and that all the qualities you mention are expressed in it.

 

Sir Peter Wright certainly tidied up the original ballet. However I still think The Nutcracker is basically a bit of a "mess" in a dramatic sense.

 

One of the touring "Russian" companies, the "Moscow City Ballet", has a version of The Nutcracker, which does away with the SPF, in effect combining the role with that of Clara. I thought it was, dramatically speaking, an improvement. However it's probably far too radical a change to be generally accepted  - and the SPF is far too beloved and iconic a character to be so dismissed.

[Xandra Newman]

15 hours ago, FrankH said:

“Charisma” (or – ugh! – the “X factor”) is a debatable concept, and much depends on personal response.  But if it means anything objective, then Francesca Hayward has it in buckets, while Anna Rose, as yet, only has it in teacups. I’m not sure it’s something which can be learnt. Charisma may not always be an advantage. It may lead to the person being diverted away from the artistic environment to which they are best suited, into the more "popular" and superficial (“Cats”?). I very much hope this will not happen with Miss Hayward. In the meantime Misses Naghdi, O’Sullivan, etc. will have more opportunities to shine.

 

 

Charisma and the X Factor are always of a great advantage FrankH. Without it it is hard to stand out and shine. Yasmine Naghdi is a Principal ballerina, Anna Rose O'Sullivan is a soloist and not (yet) in the same league as Naghdi who has already danced many leading roles such as Giselle, Odette/Odile, Juliet, Gamzatti, Aurora, Sugar Plum Fairy, ... and other leading roles in MacMillan and Ashton ballets. She shines, and has always shone, well before Hayward's diversion into Cats!

[FrankH]

1 hour ago, Legseleven said:

I haven’t seen this production with Anna Rose O’Sullivan as Clara so I can’t comment on her performance, but you also mentioned Yasmine Naghdi having more opportunities to shine because of Francesca Hayward’s absence. Naghdi certainly didn’t need Hayward to be absent to shine when she danced the Rose Fairy about three years ago in the Nutcracker live cinema relay; she more than held her own in a small role alongside the main characters with Hayward as Clara and Lauren Cuthbertson as the Sugar Plum Fairy. Naghdi certainly has that indefinable ‘it’ factor and charisma. 

 

41 minutes ago, Xandra Newman said:

 

Charisma and the X Factor are always of a great advantage FrankH. Without it it is hard to stand out and shine. Yasmine Naghdi is a Principal ballerina, Anna Rose O'Sullivan is a soloist and not (yet) in the same league as Naghdi who has already danced many leading roles such as Giselle, Odette/Odile, Juliet, Gamzatti, Aurora, Sugar Plum Fairy, ... and other leading roles in MacMillan and Ashton ballets. She shines, and has always shone, well before Hayward's diversion into Cats!

 

Let me make it quite clear that I meant absolutely no slight to Miss Naghdi in my comments!

 

All  I was doing was stating that in Miss Hayward's absence, other dancers will have more opportunities, including Miss Naghdi and Miss O'Sullivan (not in any way putting the latter at the same level as the former). I certainly did not mean to imply that Yasmine needs Francesca's absence to shine!!! That would clearly be nonsense. It's obvious from the tremendous appreciation that Yasmine's dancing receives from so many on this forum, and from many others, such as reviewers, that she is a dancer of quite exceptional quality. I am looking forward very much to the live transmission of the RB Romeo and Juliet next June, which will be the first time I will have the opportunity to see her in a really major role, alongside the much praised Matthew Ball.

Edited December 5, 2018 by FrankH
tidying up

[FrankH]

6 hours ago, annamk said:

 

Interesting ...... because I actually prefer them (either individually or together) in those ballets where they don't need to act;  there is not a trace of tension in their execution of the steps, they just show us how technically superb they are. 

 

I think this points up the difference between a seasoned, knowledgeable ballet lover (you), and a novice (me). Although I don't know whether I will ever be able to advance to the stage of pure appreciation of dance technique, as that would probably require more intimate knowledge of dance than I could acquire.

[FrankH]

4 hours ago, capybara said:

 

I find the differences in our perceptions on here so interesting. It's Anna Rose O'Sullivan and Marcelino Sambe for me in these two roles as, in the cinema at least,  I found myself connected with them and their journey far more than was the case with the Francesca Hayward (wonderful, of course) and Alexander Campbell combo.

 

Which shows just how much in the appreciation of the arts depends on the subjective impressions of the viewer/listener.

 

There was a discussion about "charisma" on another thread, in which this was brought up. One poster wrote to the effect that if someone didn't see such a quality in a performer who obviously had it, it reflected (by implication badly) on the viewer (I may be unfairly presenting the viewpoint, but that's what it read like to me). I differ, in that I believe it reflects both on the artist and the viewer/listener.

 

There is certainly an objective dimension to charisma or any other quality in the arts. Otherwise, how could anyone state with certainty that Mozart, Beethoven, Tchaikovsky etc. were among the greatest composers? And yet there are those who dislike the music of one or more of these masters. For that matter, Tchaikovsky apparently thought Brahms was talentless. As I love the music of both, I find  this incomprehensible. So there is an inescapable subjectivity too.

Edited December 5, 2018 by FrankH
spelling! and grammar

[Xandra Newman]

It's true FrankH that the more you watch ballet the more you'll learn and will be able to differentiate between an average, a good and an exceptional dancer. The more you know and understand about technique the more you'll appreciate the outstanding.

Not every one has the means to watch multiple casts allowing for such comparisons. I have attended ballets with friends who know next to nothing about ballet and when they told me "oh that dancer was so good wasn't she" I often had to contradict them and explain why the dancer was nothing exceptional. Some people attend the ballet occasionally and all will be good and exciting in their eyes; others who go often will be able to see the difference in standards reached and technical abilities of the dancers. Some go purely to be entertained, some go with a baggage of knowledge and will judge accordingly. 

[Clara_f]

FrankH you're being very gracious about any supposed ballet knowledge - one doesn't necessarily need to have gone to professional ballet school and to know all the technical moves and related terms, or to have seen 100s of performances to know that one instinctively loves a particular dancer and the way they move or breathe with the music, or one connects with a certain performance. You expressed what you felt about the performance as an audience member which is wonderful, and others on this forum can agree or disagree which is also wonderful! 

 

Well done for backing out of any potential diplomatic fracas relating to Hayward / Naghdi who are both fabulous principal artists in their own right, and have passionate supporters on either side wishing for their favourite to be spoken of in equal  terms 🙂😋

Edited December 5, 2018 by Clara_f

[Jan McNulty]

20 hours ago, JennyTaylor said:

So, perhaps, we could all loosen up a little??  

 

Fiz - continue with your affection and pleasure

 

I have never referred to a dancer solely by their surname.  My point was that I am not a regular at the Royal Ballet so how am I supposed to know who you are talking about (as has oft been said to me about dancers in other companies).  I tend to give the full name once and then refer to dancers by their first names.  What is the problem with that?

[Clara_f]

30 minutes ago, Jan McNulty said:

 

I have never referred to a dancer solely by their surname.  My point was that I am not a regular at the Royal Ballet so how am I supposed to know who you are talking about (as has oft been said to me about dancers in other companies).  I tend to give the full name once and then refer to dancers by their first names.  What is the problem with that?

Jan, I wonder if this wasn't directed at your sensible comment about being inclusive towards those on this forum who might not know all the RB dancers' full names so well but, rather, to those who thought it wasn't appropriate to use first names from a social norms perspective as they see this as overly or falsely intimate. 

 

Apologies if I'm speaking out of turn and for JennyTaylor who of course can speak for herself. 

 

I thought I'd jump in as it's Christmas time and we're all so lucky to be enjoying a run of Peter Wright's gorgeous Nutcracker which leaves us all filled with good cheer after having seen it! 

Edited December 5, 2018 by Clara_f

[Jan McNulty]

Possibly you are right Clara.

 

OK - let's face the elephant in the room.  I will admit that I loathe this production of the Nutcracker.  I saw it in 1986 when I was a ballet-watching-newbie and fortunately it wasn't the first ballet I saw or I would never have gone again!  I did go to the cinema to see it 2 years ago in the hopes that my tastes had changed.  I noticed that the act 2 diverts are now very similar to the truly glorious production SPW made for BRB but I was still bored rigid - despite Alex Campbell dancing the Nutcracker!

 

I'm very glad so many members of the Forum are enjoying it.  I'm looking forward to my BRB treat next week.

[Fiz]

2 hours ago, Amelia said:

 

Fiz, I just wanted to make clear for myself that you were writing in your post about Valentina Simukova and not about someone else with a similar name.

 

2 hours ago, Amelia said:

 

Fiz, I just wanted to make clear for myself that you were writing in your post about Valentina Simukova and not about someone else with a similar name.

I have seen it spelled both ways, Amelia.

[Clara_f]

12 minutes ago, Jan McNulty said:

Possibly you are right Clara.

 

OK - let's face the elephant in the room.  I will admit that I loathe this production of the Nutcracker.  I saw it in 1986 when I was a ballet-watching-newbie and fortunately it wasn't the first ballet I saw or I would never have gone again!  I did go to the cinema to see it 2 years ago in the hopes that my tastes had changed.  I noticed that the act 2 diverts are now very similar to the truly glorious production SPW made for BRB but I was still bored rigid - despite Alex Campbell dancing the Nutcracker!

 

I'm very glad so many members of the Forum are enjoying it.  I'm looking forward to my BRB treat next week.

Lucky you 😂😂 it was the first ballet I ever saw, but as a 5 year old I didn't have much of a choice and was furthermore of an age where one is easily pleased. I was further indoctrinated by receiving the VHS with Lesley Collier for Christmas, which I then subsequently watched 100s of time throughout my childhood. Sadly for me, other versions of the Nutcracker just feel wrong, however much I try, which is rather limiting! 

 

I do hope you enjoy your BRB treat next week 🙂

Edited December 5, 2018 by Clara_f

[Odyssey]

I dug out my vhs copy from when this production was first performed and was amazed how many changes there have been, not only in the divertissements, but also additional dancing in act one -especially for Cara and Hans Peter. One thing that I had forgotten which I seem to recall having been discussed some time ago by Sir Peter Wright used to feature in the adagio of the final pas de Deux when the Sugar Plum fairy stands on a cloak(?) as her prince gently glides this across the stage. It was a beautiful moment and I seem to recall it has its routes in the original version-but someone more knowledgeable than me can put me right. I wonder why this is no longer in the pas de deux?

[Tony Newcombe]

I once asked the great lady herself about this. Her reply. Bloody difficult!

[Douglas Allen]

2 hours ago, Jan McNulty said:

 

OK - let's face the elephant in the room.  I will admit that I loathe this production of the Nutcracker.

 

Jan, 

I agree totally. I've disliked it from the beginning. Every year it comes around and every year sees tinkerings or modifications. They don't really improve it, just make it slightly less dreadful. I feel for the poor unfortunates dancing the Sugar Plum Fairy and "her cavalier" (not even a name!) having to come into the opera house, wait around interminably, then get on stage for about three minutes of dancing and then go home. What a waste.

The BRB production isn't perfect, but it's a lot better.

I still think the Nureyev version (still performed in Paris) is the best. Why or how the ROH allowed it to fall into disrepair is one of life's great mysteries!!

[Rob S]

4 hours ago, FrankH said:

 

One of the touring "Russian" companies, the "Moscow City Ballet", has a version of The Nutcracker, which does away with the SPF, in effect combining the role with that of Clara.

 

The St Petersburg Classic Ballet do the same, I've seen it for the last couple of years in Bath...I assumed it was due to a limited number of principal grade dancers

[loveclassics]

2 hours ago, Odyssey said:

I dug out my vhs copy from when this production was first performed and was amazed how many changes there have been, not only in the divertissements, but also additional dancing in act one -especially for Cara and Hans Peter. One thing that I had forgotten which I seem to recall having been discussed some time ago by Sir Peter Wright used to feature in the adagio of the final pas de Deux when the Sugar Plum fairy stands on a cloak(?) as her prince gently glides this across the stage. It was a beautiful moment and I seem to recall it has its routes in the original version-but someone more knowledgeable than me can put me right. I wonder why this is no longer in the pas de deux?

This business of the SPF standing on a piece of fabric has come up on this forum before (or maybe the older version of ballet.co).  It was included in the RB production of the 80s but was later dropped as not being authentic.  Apparently it comes from a misinterpretation of a poster design and was never actually danced in any prior production.

 

Linda

[Dawnstar]

As it has been referred to several times, may I ask what are the main differences between the BRB Nutcracker and the RB one? I did see the BRB one back in 1995 but I was only 10 at the time and the only detail I can remember is that the tree seemed to be bigger in Birmingham - and even that may just be because I was smaller!

[Sophoife]

We here in Oz have the BRB version and whenever I watch the RB version (I have two on DVD and yes I notice tweaks) the whole Hans-Peter plot annoys me. Go away boy! @Dawnstar that's the major difference - no HP in the BRB/TAB version.

 

I really like that the Nutcracker turns into a prince who dances with the SPF (who in turn disappears from the last ensemble to be replaced by Clara). The forest awakening scene is my favourite part of the whole ballet, and the end behind the (dreaded) scrim where the prince brings Clara back home is so lovely...

 

Oh and Snow Fairy is a named role and has four Cavaliers aka the Winds if I'm remembering right...

Edited December 5, 2018 by Sophoife
Comment re difference between productions

[Rob S]

27 minutes ago, Dawnstar said:

As it has been referred to several times, may I ask what are the main differences between the BRB Nutcracker and the RB one? I did see the BRB one back in 1995 but I was only 10 at the time and the only detail I can remember is that the tree seemed to be bigger in Birmingham - and even that may just be because I was smaller!

 

I'll be able to tell you at the end of the month, I'm seeing RB on the 28th and then the BRB at the Albert Hall on the 29th 😊

[Jan McNulty]

30 minutes ago, Dawnstar said:

As it has been referred to several times, may I ask what are the main differences between the BRB Nutcracker and the RB one? I did see the BRB one back in 1995 but I was only 10 at the time and the only detail I can remember is that the tree seemed to be bigger in Birmingham - and even that may just be because I was smaller!

 

The main differences are the plot (none of that Hans Peter/nephew malarky), BRB doesn't have the ludicrous angels, the sets and costumes are different, the BRB transformations have to be seen to be believed ... and the BRB one is the best Nutcracker anywhere full stop!

[bridiem]

31 minutes ago, Jan McNulty said:

 

The main differences are the plot (none of that Hans Peter/nephew malarky), BRB doesn't have the ludicrous angels, the sets and costumes are different, the BRB transformations have to be seen to be believed ... and the BRB one is the best Nutcracker anywhere full stop!

 

I think the angels are thrilling...

 

I haven't seen the BRB version for years, unfortunately, but I remember absolutely loving it. I do find the whole nephew sub-plot in the RB version a bit obscure (but I don't really pay much attention to it).

[JohnS]

Well I love the Royal Ballet's Nutcracker particularly because the narrative is so strong and it is very much Clara's ballet with Hans Peter an integral part of her journey from childhood towards adulthood and I also love Clara and Hans Peter joining in Act 2 (I know some others don't).  We've certainly had some fabulous Claras in recent years.  I'm entranced every time I see the production and am looking forward immensely to the cinema encore this Sunday, particularly given the glowing reviews.  A Parish Council Meeting clashed with the live relay  - hopeless planning on my part.  I shall also enjoy a couple of performances in the theatre much nearer to Christmas, including the cinema cast.  

[Saodan]

I have always felt sorry for Clara’s Partner in the RB version. They seem to be getting on so well at the party and he leaves with such hope for their relationship, only to be callously tossed aside when a Nutcracker doll comes to life. He doesn’t even get a name! The BRB version solves this by getting rid of Hans-Peter. 

 

Also, I am a fully paid up member of the Anna Rose O’Sullivan fan club. She has always stood out for me in the corps and soloist roles, I loved her as Clara when I saw her at the ROH 2 years ago, loved her Alice last year, loved her in the cinema on Monday, and am looking forward to her Juliet. Don’t understand all this talk about her lacking charisma, she does it for me. Takes all sorts. 

[penelopesimpson]

7 hours ago, Jan McNulty said:

Possibly you are right Clara.

 

OK - let's face the elephant in the room.  I will admit that I loathe this production of the Nutcracker.  I saw it in 1986 when I was a ballet-watching-newbie and fortunately it wasn't the first ballet I saw or I would never have gone again!  I did go to the cinema to see it 2 years ago in the hopes that my tastes had changed.  I noticed that the act 2 diverts are now very similar to the truly glorious production SPW made for BRB but I was still bored rigid - despite Alex Campbell dancing the Nutcracker!

 

I'm very glad so many members of the Forum are enjoying it.  I'm looking forward to my BRB treat next week.

Well, Jan, you and me both.  I saw it once about five years ago and decided it wasn't for me.  I think it is a visual treat and gives great pleasure to so many, but leaves me cold.

[Amelia]

7 hours ago, Fiz said:

I have seen it spelled both ways, Amelia.

 

In the Luke Jennings’ article her name was spelled correctly - Valentina Simukova:
https://www.theguardian.com/stage/2011/dec/09/movetube-nutcracker-valentina-simukova

Sadly, the only surviving recording of her dancing is the Sugar Plum Fairy: http://youtu.be/ocWlY6VheZY

Both she and Vadim Gulyaev were students at Vaganova Academy at that time. What else remains of this outstanding talent are just 37 photos of her exercise, which show her remarkable physique and training:   https://www.google.com/search?source=hp&ei=iWcIXJ_FJ4vTkwXjp534Cw&q=валентина+симукова&oq=валентина+симукова&gs_l=psy-ab.1.0.35i39l2j0i19.4179.4179..8415...0.0..1.287.645.1j0j2......0....1j2..gws-wiz.....0.9eK6qZ4fhFM

Edited December 6, 2018 by Amelia
the last link added.

[Sim]

I can't access the video because it has been removed due to concerns about copyright infringement.  A shame, I would love to see it.  Such a tragic story.  

[Fiz]

It makes me cry, Sim. Such abundant talent and all taken away by a stupid virus for which there is now a vaccine. My brother was in the first U.K cohort for the measles vaccine in 1963. Perhaps it wasn’t available in Russia. Valentina’s tragic death gives the lie to people who pretend that measles is a benign childhood illness. It nearly killed our niece too. Right, back to The Nutcracker!

[capybara]

7 hours ago, Saodan said:

Also, I am a fully paid up member of the Anna Rose O’Sullivan fan club. She has always stood out for me in the corps and soloist roles, I loved her as Clara when I saw her at the ROH 2 years ago, loved her Alice last year, loved her in the cinema on Monday, and am looking forward to her Juliet. Don’t understand all this talk about her lacking charisma, she does it for me. Takes all sorts. 

 

Completely agree. There is no artifice about her. She's one of those dancers who, for me, acts and moves 'from the inside' and I love that in an artist. Besides, as Clara (and Alice), she completely looks the part - as she will as Juliet, I'm sure.

[Jan McNulty]

8 hours ago, Amelia said:

 

In the Luke Jennings’ article her name was spelled correctly - Valentina Simukova:
https://www.theguardian.com/stage/2011/dec/09/movetube-nutcracker-valentina-simukova

Sadly, the only surviving recording of her dancing is the Sugar Plum Fairy: http://youtu.be/ocWlY6VheZY

Both she and Vadim Gulyaev were students at Vaganova Academy at that time. What else remains of this outstanding talent are just 37 photos of her exercise, which show her remarkable physique and training:   https://www.google.com/search?source=hp&ei=iWcIXJ_FJ4vTkwXjp534Cw&q=валентина+симукова&oq=валентина+симукова&gs_l=psy-ab.1.0.35i39l2j0i19.4179.4179..8415...0.0..1.287.645.1j0j2......0....1j2..gws-wiz.....0.9eK6qZ4fhFM

 

7 hours ago, Sim said:

I can't access the video because it has been removed due to concerns about copyright infringement.  A shame, I would love to see it.  Such a tragic story.  

 

I could see it Sim, how bizarre that you can't.

 

Such beauty and elegance but what I also noticed was the emotional interconnection between the 2 dancers.  Given that many people seem to think the gpdd is just a technical exercise, even out of context, these dancers gave a believable story that was more than just technique.

 

Thanks Amelia.

[Odyssey]

11 hours ago, loveclassics said:

This business of the SPF standing on a piece of fabric has come up on this forum before (or maybe the older version of ballet.co).  It was included in the RB production of the 80s but was later dropped as not being authentic.  Apparently it comes from a misinterpretation of a poster design and was never actually danced in any prior production.

 

Linda

Thanks for sharing your knowledge of this. I still think it was an unusual and charming aspect of the adagio.

 

Regarding comparison with the BRB version. I agree with Janet that it is the most marvellous production with a transformation scene that never fails to receive a gasp and applause from the audience. It’s not just the clever way the tree ‘grows’ - won’t spoil it for those who have yet to see it, but the way the other aspects of the transformation fit perfectly with every note of Tchaikovsky’s magnificent score. I also prefer the choreography for the snowflakes. 

I have the Nureyev version on VHS and agree it is a travesty that it was dropped. I think Dame Ninette de Valois once said in sn interview it was her favourite version. 

[Sim]

1 hour ago, Jan McNulty said:

 

 

I could see it Sim, how bizarre that you can't.

 

Such beauty and elegance but what I also noticed was the emotional interconnection between the 2 dancers.  Given that many people seem to think the gpdd is just a technical exercise, even out of context, these dancers gave a believable story that was more than just technique.

 

Thanks Amelia.

Now I have seen it.  I tried to watch it via the Guardian article.  The other link works.  So lovely, and all the more poignant knowing that she would be gone a year later. 😢