The Royal Ballet: Romeo and Juliet, Spring 2019

[SPD444]

32 minutes ago, capybara said:

LOVED your review nogoat. 

 

So did I nogoat. I also share your opinion of Ms Osipova. That stillness on the bed gave me the shivers then the silent scream... my goodness!

[BeauxArts]

47 minutes ago, Nogoat said:

There is also the question of Hallberg and the ‘natural chemistry’ between him and Osipova. The essential part of that will spring from the relationship between the actual dancers, and they obviously enjoy dancing together, but it will also reflect in the eye of the beholder.

On the basis of last night, I would categorise their natural chemistry as that between sodium (Osipova) and water (Hallberg); the 'passive' latter allows the 'active' former to fizz and pop and burn. Their chemistry doesn’t seem that of an explosive mixture such as oxygen and hydrogen, where both elements are highly reactive; maybe they were like that once, as others have alluded to, but not last night (or maybe the plot doesn’t provide the necessary conditions for the chemistry to explode).

 

I enjoyed your comments, Nogoat, and found these thoughts very interesting. Perhaps I had expected that there would be something more obviously "electric" between Hallberg and Osipova, but having reflected on their performance and reading the comments of others, I feel he is more of an "enabler" for Osipova and her unique gifts.Whether this, and his own dancing, are  enough to justify his invitations next year is another discussion, though.

[Mary]

1 hour ago, Nogoat said:

It’s also been mentioned that her prior encounters with her parents and Paris show her taking control, but I see those more as her just having a tantrum (she does, after all, end up hiding under the bed clothes); though I’d like to mention that I thought Osipova was simply amazing in those sequences – she seemed to be at the mercy of powerful forces, and was propelled from parent to parent to nurse as if in some demented game of pinball!

 

Oh I don't think she is 'having a tantrum' at all- always think it's a big mistake to play for any kind of laugh here in the bedclothes moment- which I would change: - this is serious. She is being forced into a marriage she doesn't want. A man she doesn't want is trying to touch her and bend her around:-  'ugh'- should be the audience's response. Sounds as if Osipova got it right.  Juliet is at the mercy of her parents/society/convention here isn't she?

 

I thought Naghdi was good too in showing her horror at the unwanted physical contact.

 

 

 

[bridiem]

1 hour ago, capybara said:

LOVED your review nogoat. 

 

As did I!

[ninamargaret]

I've been really enjoying reading all the different comments. My R and J is the very last one so I've been particularly interested in the comments about Naghdi and Ball. I've been lucky enough to see many of the earliest pairings for this ballet and find it always holds my interest. I've also got a sneaking feeling that some of our current interpreters of the main roles are even better than earlier interpreters, probably due to the fact that the RB seems to pay greater attention to the 'acting' element of ballets than was the case in the 60s and early 70s Maybe audiences have decided that they want more from the big story ballets than just superb dancing, and we certainly seem to be getting it these,days 

[Dawnstar]

3 hours ago, Nogoat said:

In fact, I have a major problem with Romeo’s story that limits my sympathy for him - and that is the deaths of Mercutio and Tybalt. In all three performances I have seen this run, it is not obvious that Tybalt maliciously kills Mercutio; typically, Romeo pushes Mercutio back as Tybalt barges between a couple of men, sword extended. Last night, even that ambiguity was less obvious – most of the ‘blame’ for what might otherwise be construed as an accident was Romeo’s (he pushed Mercutio backwards very vigorously onto Tybalt who was already standing there). As a result, Romeo’s subsequent angry killing of Tybalt seemed much less justifiable. Given this, I end up wondering does Romeo really ‘deserve’ Juliet? And, by extension, does he deserve my sympathy? 

 

 

I wonder whether how this comes over depends on both the cast & the angle from which one is viewing. When I saw Hirano's Tybalt, with the Nunez/Tissi cast, I thought that, from the angle I was viewing it extreme SC right, it looked like he absolutely stabbed Mercutio on purpose. With other Tybalts it seemed to be more accidental but that may have been because I was viewing them from front on or SC left, where the view is less clear.

[Shade]

Thanks Nogoat for your comprehensive review. I didn’t post much before because I had just got home and was recovering from the harrowing act 3 of last nights performance. I find that I cannot see multiple R & Js in one run unlike other ballets, perhaps because it is more “human”.

 

I agree that it is difficult to share a stage with Osipova but Hallberg is accustomed to dancing with great ballerinas.  The balcony scene was heartbreakingly beautiful, despite some struggles with the lifts. The morning after the wedding night was desperate and full of despair on juliet’s part.

 

Hay was excellent but Paris looked like a boy - too young I thought.

Hirano was terrifyingly menacing. Hay excellent.

 

orchestra performance was better than I have heard before. Lovely flute and violin solos. 

 

There were tears after act 3 in the amphitheater for sure. It was a visceral,  heartrending performance from both Osipova and Hallberg. Truly great. 

 

 

 

 

 

 

[Mummykool]

3 minutes ago, Shade said:

Thanks Nogoat for your comprehensive review. I didn’t post much before because I had just got home and was recovering from the harrowing act 3 of last nights performance.

 

 

 

 

 

 

Me too. Still getting over it in fact. It really was one of those nights that will stay long in the memory

[alison]

Before I forget to ask yet again - why all the little aggressions between various factions of the townspeople in Act I, Scene I?  This isn't something I remember from previous runs (I remember the townswomen having a go at the harlots [and maybe also their menfolk for consorting with them] in Act II, but not this).  Are the corps getting bored, and livening up their roles?  Has it always been there and I just haven't noticed it in the past few decades?  Did whoever's currently staging the ballet put it in?

[SPD444]

 

I thought it was in respect of the hatred between the Capulets and the Montague’s and the townspeople reflected that???

[MRR]

The Saturday double header of R&J was one of the most satisfying days at the ballet I've had in a long time.  I hesitate to write about it, having so many impressions about the two casts of ill-fated lovers, interpreting the same story but in ways worlds apart.   Naghdi/Ball in my first live viewing were tender, playful, childlike, and at the same time a framework of their company.  This performance was in no way a "star turn" but rather one where the title roles became part of an entire ensemble in 16th century Verona, their relationships to every character unique and delineated.  However, the evening was very much the Osipova/Hallberg show: whenever they danced together everything faded into obscurity. The second they locked eyes no one else mattered, and to the end they were onstage to die for one another.  With four great lead performances I must single out Osipova, whose Juliet -- particularly her Act III -- was one of the most memorable nights of theater I have ever witnessed.

 

Without question Osipova has her flaws.  Her classical line poses problems for a tutu ballet, but even as Juliet her extremely tattered and dead pointe shoes give way to a sickled foot and an often splayed position in arabesque.  Some of her transitions are muddy; her turn out and placement suspect.  Nor does she always hit the mark with her artistic choices:  the frenzied way in which she darted around the stage before seeing Friar Lawrence appeared manic rather than theatrical.  However, where Osipova's Juliet is uncommon is that her character does not act upon choice, but on impulse, something deep inside her creating the space, the music, the story, right in front of our eyes.  At first her Juliet seemed to fall too quickly for Romeo, because if she's head over heels from the start how does that love evolve?  But just when you think Osipova can't peel off any more layers, she does, tenfold.  Her walk downstage with Hallberg at the start of balcony PDD became not just a walk, but something dangerous and profound, the both of them realizing there was no turning back.  By the end of the act Osipova had unbridled ecstasy, each glissade seeming to travel 10 feet, daring Hallberg to catch her.

 

However, Act III was Osipova's real triumph, where her Juliet somehow coalesced Shakespeare, Prokofiev, and MacMillan into one.  Every emotion came from the inside: her anger but at the same time her love for Romeo, her defiance of Paris, her terror in taking the potion.  Especially riveting was how she peered from beneath the bed to look at what the Friar had given her, before turning to pray, and out of nowhere running to take the bottle.  There was no calculation, just complete abandon and compulsion.  Seldom has a Juliet imbued every step with such consequence; in her hands this centuries old story became suspenseful, with every scene bleeding into the next.  Her "death" was like nothing I've experienced before: limbs flailing, every bone limp in Hallberg's arms.  When she wakes up she doesn't do so from a rested sleep, but from a drug-induced state, pulling and pulling herself up to realize Romeo beside her.  Her scream may as well have been audible it was so deafening.  After the scream she held onto Romeo until the last possible moment before she could stab herself.  The entire third act felt as though Osipova came to that rare space, where as an artist she was never thinking, but believing, creating her own tragedy in front of us, as though the 2300 in attendance were really just flies on the wall in 16th century Verona.

 

As for Hallberg's Romeo, after all the injuries I'm just grateful he's back onstage let alone at Covent Garden.  Technically his amplitude and stamina aren't what they once were:  in the ballroom solo he watered down the double assembles to singles, and throughout the evening he was quite apparently pacing himself for the big moments.  His partnering, never a strength, suffered in comparison to Matthew Ball's, with a hairy moment when Hallberg stood up from the drape lift in the balcony pas, and Osipova needing to support him during the lift on his knees.  However, architecturally his dancing is still the work of Michelangelo:  his line extending into a posture for days and a perfectly proportioned, elongated leg with an impeccably shaped foot.  His Romeo didn't go for literalism -- he wasn't boyish nor especially naïve -- but Osipova drew him to become virile.  The balcony pas showed him as more than elegant:  impassioned, erotic, desperate to realize his true love.  And some of the nerves which were perhaps there in Act I dispersed by Acts II and III.  His fight with Tybalt, though not as physically visceral as Ball's with Avis in the matinee, was still an intense standoff with Ryoichi Hirano, and in the balcony pas he masterfully conveyed his insistence in leaving Juliet but his turmoil in doing so.  Visibly crying as he cradled Osipova's lifeless body around the stage, Hallberg's death scene was shattering, for to lose to Juliet was to lose everything.  He did not use her hand to drink the poison, as with Tissi and Ball, but the way he slowly descended from the tomb was devastating.  Maybe this wasn't the Hallberg of old, but it was still a Hallberg whose Romeo would die for his Juliet, leaving her in his grasp until the last breath.

 

The matinee of Naghdi and Ball didn't plumb to the same emotional depths as Osipova/Hallberg, but there was much to admire.  Naghdi is a notator's dream: every step is given its full integrity, her transitions like crystal.  Her Juliet was angelic, lyrical, if at times too regal, but always beautiful in discovering her first love.  Unlike Osipova she has a textbook classical line and the solos in Act I were gorgeous with sinuous, luxuriant extension and shy but affectionate glances at Romeo, almost letting the music push her into some other realm.  Her relationship with Ball was more of a storybook approach, tender and youthful, resembling teenagers and their innocence.  The balcony pas was technically about as flawless as it gets though the ecstasy Osipova created in the evening was somewhat missed by Naghdi's more streamlined portrayal.  I agree with some of the reservations over her Act III in particular the stab which wasn't as gut-wrenching as needed.  Nonetheless, Naghdi has a natural stage presence with an ironclad technique, which makes me want to see her in a variety of roles, Aurora and Giselle chief among them.  Her movement quality is striking, like rippling water.

 

Ball is not the quality of technician as Naghdi but a finely developing actor and phenomenal partner.  Unlike Hallberg, Ball lifted Naghdi like paper: the famous lift on his knees during balcony, Naghdi never needed to support him even while descending into arabesque.  But the strength of Ball's portrayal was how integrated into the company his Romeo became: his friendships with Mercutio and Benvolio completely organic in a way which escaped Hallberg somewhat and completely alluded Jacopo Tissi on Wednesday.  His fight scene with Avis also has to go down as one for the ages:  intense, brooding, menacing, as the two of them threatened to destroy the set if not each other while still never missing a single hit of their swords.  Ball's Romeo somehow managed to be endearing while being an indefatigable alpha male; his chemistry with Naghdi very much there even if it didn't feel as much life or death as Osipova/Hallberg's.  Technically he has a lot of room to polish:  his arabesque lies 4-6 inches too low and his foot leaves the line unfinished, sickling slightly.  Particularly during long series of jumps his feet get sloppy and the fifth positions don't' close fully.  However, his pirouettes and jumps were solid throughout the show with a flawless series of five consecutive double saut de basque in Act II (Hallberg did four, if we're counting).  

 

Evidently I'm now writing a dissertation but a quick word on Mercutio and Tybalt.  James Hay was phenomenal in the evening with a fully realized character not to mention a dynamic allegro technique.  His death scene was everything it should be, a flirt and joker to the end but reeling in agony.  Zucchetti in the matinee was mischievous but some of his timing and positions were muddled.  Hirano's Tybalt I also preferred (and it was vastly improved from Wednesday):  he was formidable with an almost sociopathic demeanor that reads to me in the character.  Avis's characterization was more deranged, inebriated to the point of not being able to stand up before the fight scene, and feeling remorseful, at first, for Mercutio's death.  

Edited June 3, 2019 by MRR

[John Huxley Travis]

I have attended eight performances of Romeo and Juliet. They have all been outstanding. The Company as a whole is on the most wonderful form. 

[bridiem]

Thank you for this magnificent review, MRR. And in particular for capturing so vividly the phenomenon that is Osipova's Juliet. 

 

Edited June 3, 2019 by John Mallinson
Edited to remove the complete requote of MRR's text.

[FionaM]

On 01/06/2019 at 19:27, bridiem said:

 

Oh for goodness sake. If it came to the absolute worst, it would be better for the evening performance to start a few minutes late rather than to curtail deserved curtain calls.

 

Maybe because the evening performance was an early 7pm start?   But I agree the management should prioritise the artist-to-audience experience (that’s the main point after all!) and arrange start/end times to accommodate prolonged curtain calls.  

[alison]

10 hours ago, MRR said:

in the ballroom solo he watered down the double assembles to singles,

 

Hallberg's hardly been the only one to do that: I made a mental note one evening to check the MacMillan website, because I was sure that when Ed Watson was being coached in it they were doubles. 

[PatC]

 

On ‎02‎/‎06‎/‎2019 at 12:03, JohnS said:

A train journey home and chance to catch up on posts after a draining double R&J and collect my thoughts.

 

The matinee was very much Naghdi/Ball, the first chance to see them since that fabulous debut in October 2015, my wife’s most treasured performance.  Yesterday was very fine and I am looking forward immensely to the live relay with the director selecting what we are to see.  Front row of the Orchestra Stalls has many attractions but with so much activity across the entire stage, it can be a little like watching a tennis match.  You can of course choose what to focus on and the detail is tremendous.  A couple of minor slips - Matthew Ball to me join Mercutio and Benvolio a beat too early when launching towards the front and I thought he was in danger of losing his dagger when confronting Paris in the tomb.  I agree with some of the comments about Yasmine’s rather ‘polite’ stabbing which I thought fractionally late.  But their whole journey together was wonderful to see at close quarters and it’s fabulous that their performance will be relayed.  It seems slightly odd to me that the broadcast is a full 10 days after their first performance and there are no other R&J performances since last night.  I’d like to think the reason for the gap is so that Yasmine isn’t having to cope with another deluge of bouquets although she is of course dancing Firebird etc.

 

Whilst I was transported by Romeo and Juliet, I was less impressed with some of the supporting cast.  I think we’ve had stronger Mercutios than Valentino Zucchetti and Tybalts than Gary Avis.  And it underlined for me that what made the Hayward/Corrales 2nd performance so compelling was the astonishing strength of all the principals and how well matched they were.

 

That need for consistency across the main principals also struck me in the evening’s performance.  Romeo (David Hallberg), Mercutio (James Hay) and Benvolio (Calvin Richardson) seemed rather mismatched to me - I couldn’t get ‘the unlikely lads’ out of my mind.  Yes some great dancing but not that camaraderie of some casts and not helped by height differences.  Ryoichi Hirano’s Tybalt was menacing.

 

This was a shame because last night we were treated to a truly visceral Juliet from Natalia Osipova, quite astonishing.  Rather than simply go limp/play dead when forced to dance with Paris, she demonstrated utter revulsion at the prospect, with her body desperate to get away from his holds.  Rob’s already referred to her manic dash from bedroom to Friar Laurence etc.  But there was also tangible deliberation in how she decided upon what she must do and how often in Act 3 she turned to look to Romeo’s exit from her bedroom.  Her stabbing was brutal and her death achingly beautiful in its resolution.  Despite being in the Balcony Stalls, I felt as if I were in the tomb as the slow curtain dropped.

 

It was very much Juliet’s performance last night and I couldn’t help thinking what might have had Romeo been more of a match.  David Hallberg was fine but given such a Juliet, I’d have preferred a much more spirited, energised Romeo.  I’d have loved to see Matthew Ball as Natalia Osipova’s Romeo ... but not on the same day as partnering Yasmine Naghdi.

 

And many thanks to the fabulous friends, harlots, and mandolins who add so much to the enjoyment, and to Pavel Sorokin and the Orchestra.

 

I would love to see an Ospiova / Corrales R & J!

Edited June 3, 2019 by alison
Removed irrelevant quote

[imogensevans]

I’ve thoroughly enjoyed reading all the reviews of R&J, and have learned a great deal from them too.  I’m really interested to know which dancers in the Royal Ballet have excellent classical technique. 

I noticed Matthew Ball’s feet during Saturday’s performance sometimes looked a bit flat when he was turning fast (apologies for not knowing the correct terminology!) It certainly didn’t detract from his wonderful portrayal of Romeo, but to my novice eye, Yasmine Naghdi’s technique looked ‘cleaner’. 

I was one of those who stood up on Saturday to applaud the dancers-it was an incredibly moving performance. I’m really looking forward to the live link up next week as well! 

[JNC]

21 minutes ago, imogensevans said:

I’ve thoroughly enjoyed reading all the reviews of R&J, and have learned a great deal from them too.  I’m really interested to know which dancers in the Royal Ballet have excellent classical technique. 

I noticed Matthew Ball’s feet during Saturday’s performance sometimes looked a bit flat when he was turning fast (apologies for not knowing the correct terminology!) It certainly didn’t detract from his wonderful portrayal of Romeo, but to my novice eye, Yasmine Naghdi’s technique looked ‘cleaner’. 

I was one of those who stood up on Saturday to applaud the dancers-it was an incredibly moving performance. I’m really looking forward to the live link up next week as well! 

 

I too feel like I've learnt so much more since joining this forum! Thanks to all those who have provided reviews

[Dawnstar]

6 hours ago, alison said:

 

Hallberg's hardly been the only one to do that: I made a mental note one evening to check the MacMillan website, because I was sure that when Ed Watson was being coached in it they were doubles. 

 

May I ask which dancers have done which? I haven't the faintest idea what an assemble looks like but I presume that being able to do doubles in indicative of better technique?

[Candleque]

1 hour ago, imogensevans said:

I was one of those who stood up on Saturday to applaud the dancers-it was an incredibly moving performance

 

Me too. Agree!

[alison]

50 minutes ago, Dawnstar said:

 

May I ask which dancers have done which? I haven't the faintest idea what an assemble looks like but I presume that being able to do doubles in indicative of better technique?

 

It's sort of a jump up with both feet together and pointed, two turns in the air (if it's a double), and then land, hopefully cleanly, although frequently fudged, in my experience!  Or something like that, anyway.  I'm sure someone else will be able to give a more technical explanation  

[FionaM]

24 minutes ago, alison said:

 

It's sort of a jump up with both feet together and pointed, two turns in the air (if it's a double), and then land, hopefully cleanly, although frequently fudged, in my experience!  Or something like that, anyway.  I'm sure someone else will be able to give a more technical explanation  

 

I believe the discussion is about double tours en l’air, which is a man’s jump where he takes off vertically from 5th position, with both legs together, spins twice in the air and lands back neatly into 5th. That’s the theory!   In practice, very few men can actually do it without fudging both the take-off and landing - but as it’s so quick we don’t see it.  Probably the cleanest at the RB at double tours is Marci Sambe.  A very few can attempt triple tours (Polunin, Sarafanov - but they are also fudged).

[FionaM]

Back to R&J.  I too saw the Osipova / Hallberg performance on Saturday.  Osipova was an outstanding portrayal in all acts.  Hallberg could not match her, until the final odd in the tomb with her supposedly dead body, which was absolutely spectacular and believable.  David Hallberg’s technique does not seem to be what it once was and I thought he was outshone by Hay as Mercutio dramatically, and by Calvin Richardson as Benvolio technically.  

 

Is Benvolio usually a trainee role for future Romeos?  If so, I’d be excited to see Calvin do it, though he could do with trimming the floppy fringe!  And he is on the tall side.  We know the RB needs some more tall princes..... watch this space!

[RHowarth]

That is indeed a tour en l'air! I haven't seen R&J this run and I admit I've been pondering where these all-important assembles were in the choreography! 

Edited June 3, 2019 by RHowarth
Sense

[BeauxArts]

They have been missing in action, RHowarth!

[RHowarth]

There is such a thing as a double assemble but it's very much a classroom step. I can't think of an occasion I've seen it done on stage but then I'm not particularly observant. 

 

Tour en l'air in its most recognisable form is an like an entrechat (or leg wiggles as my husband calls them) but turning instead of staying facing the front. You might also see them in retire devant (so like a pirouette but jumped) or to arabesque. 

[alison]

9 hours ago, alison said:

 

Hallberg's hardly been the only one to do that: I made a mental note one evening to check the MacMillan website, because I was sure that when Ed Watson was being coached in it they were doubles. 

 

Drat, that video no longer appears to be there, and nor does the Lynn Seymour coaching Tamara Rojo video  

[now voyager]

In Bayadere, Solor typically does a series of double assembles in one of his variations.

As for triple tours, Daniel Camargo did a great set of them in Shrew pas at the last World Ballet Festival in Tokyo.  (Ricky Cragun was of course famous for them.)

Edited June 3, 2019 by now voyager

[MRR]

Keep in mind Romeo's double assembles in MacMillain's staging aren't the traditional version of the step.  Most double assembles (such as in Bayadere) will involve a battement (the front leg brushing), and the back leg reaching the front leg in a fifth (soubresaut) position while rotating as close to two revolutions as possible.  In the MacMillan production Romeo has to enveloppe the leg by brushing the leg straight, bringing it to his knee and down to fifth as he lands, instead of coming immediately to fifth.  So this version of the step is more difficult.  Of the Romeos I saw Tissi's were quite good; Ball's less so.

 

Acosta, as one would expect, did an excellent one

 

 

Vadim doing the traditional double assemble in Bayadere.  Notice his right leg stays straight once it is in the air.

 

 

Edited June 3, 2019 by MRR

[Douglas Allen]

42 minutes ago, now voyager said:

In Bayadere, Solor typically does a series of double assembles in one of his variations.

As for triple tours, Daniel Camargo did a great set of them in Shrew pas at the last World Ballet Festival in Tokyo.  (Ricky Cragun was of course famous for them.)

Absolutely!

 

Assembles are not tours en l'air as suggested above. Tours (single, double or triple) are static in the sense that any movement is up and down. Assembles involve travel as well as turning while in the air. The best known example is Solor in the Shades scene of Bayadere. The real difficulty is performing them neatly while continuing the sequence. The landing after each assemble frequently causes the dancer to stumble making the next in the sequence more difficult. In Bayadere the sequence usually (depending on the production) is a manege of six double assembles. I've seen several dancers in my time  who by the conclusion of the manege resembled a drunk in a pub car park...

 

MRR has just posted a very clear response, so I won't witter on any longer!

[RHowarth]

Sorry to take this thread off topic (like I said, I haven't seen the ballet this run, and it's only now I've realised what step is under discussion) but to my mind those are assembles en tournant. Different syllabi call steps by different names but I know a double assemble as this: 

 

https://www.bing.com/videos/search?q=double+assemble+ballet&view=detail&mid=6B523316A60457AC91926B523316A60457AC9192&FORM=VIRE (sorry, don't know how to embed video). 

 

Very much a classroom step as I stated above.

 

Let's all demonstrate at the next Balletcoforum get together! 

Edited June 4, 2019 by RHowarth

[MRR]

At least in the U.S. I've always heard that step (in the videos of Muntagirov/Acosta) referred to as a double assemble, with double meaning two revolutions.  "Double" is deceiving, because when done on a diagonal it's more like 1 1/2  revolutions. Suppose double assemble en tournant would be the proper turn?  Or grand assemble en tournant.  

[RHowarth]

9 minutes ago, MRR said:

At least in the U.S. I've always heard that step (in the videos of Muntagirov/Acosta) referred to as a double assemble, with double meaning two revolutions.  "Double" is deceiving, because when done on a diagonal it's more like 1 1/2  revolutions. Suppose double assemble en tournant would be the proper turn?  Or grand assemble en tournant.  

MRR, I've heard that shorthand too and if I'd been more awake last night I would have clocked what was meant! 

 

I've just consulted Gretchen Ward Warren's Classical Ballet Technique...she has a page on assemble en tournant; she describes three (all illlustrated photographically): 'assemble en tournant en dedans (with single tour en l'air)'  'assemble en tournant en dehors (with single tour en l'air' and 'assemble en tournant en dedans (with double tour en l'air' which is the step under discussion! Other books, dictionaries and teachers might well label it slightly differently though.